Hannah Erickson | Teachers College, Columbia University (original) (raw)

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Papers by Hannah Erickson

Happiness: a moment in which the evident purposiveness of being stretches out before our eyes, wa... more Happiness: a moment in which the evident purposiveness of being stretches out before our eyes, waxing a little with the hope for a long duration, waning a little in its clarity of sensation around the periphery. It will pass through, leaving us with a rather unremarkable feeling of having been touched by something larger than ourselves that perhaps we will be able to find again; perhaps someday, differently.

Do theories about art's manifestations, limitations, and necessary and sufficient conditions defi... more Do theories about art's manifestations, limitations, and necessary and sufficient conditions define the manner in which the Artworld acknowledges 'art', or does art-constituted by its presence in the Artworld-enable the theories which explain it? In the absence of a substantial definitions for the criteria which allow for the recognition of 'art' by a member of the Artworld, we find the collapse of an argument from George Dickie. Seeking to create a more porous definition of what an Artworld is, does, and who and what can be in it, we will look to Kendall Walton's exaltations of participation, imagination, and a validation of relative reality in fiction for a less constrictive relationship between art and the Artworld.

Happiness: a moment in which the evident purposiveness of being stretches out before our eyes, wa... more Happiness: a moment in which the evident purposiveness of being stretches out before our eyes, waxing a little with the hope for a long duration, waning a little in its clarity of sensation around the periphery. It will pass through, leaving us with a rather unremarkable feeling of having been touched by something larger than ourselves that perhaps we will be able to find again; perhaps someday, differently.

Do theories about art's manifestations, limitations, and necessary and sufficient conditions defi... more Do theories about art's manifestations, limitations, and necessary and sufficient conditions define the manner in which the Artworld acknowledges 'art', or does art-constituted by its presence in the Artworld-enable the theories which explain it? In the absence of a substantial definitions for the criteria which allow for the recognition of 'art' by a member of the Artworld, we find the collapse of an argument from George Dickie. Seeking to create a more porous definition of what an Artworld is, does, and who and what can be in it, we will look to Kendall Walton's exaltations of participation, imagination, and a validation of relative reality in fiction for a less constrictive relationship between art and the Artworld.

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