These chapters deal with some of the problems involved in the definition of sculpture, and with the so-called 'essence' and the ontological status of aesthetic objects in general and of sculptures in particular. Had there been a little less ground to cover it would
have been convenient to place all this introductory material in a single chapter: as it is, the unwieldiness is somewhat reduced by dividing the matter roughly between the questions (Chapter I) 'How
should we use the word...[Show more]
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