By Lucian Krukowski

ISBN-10: 087023563X

ISBN-13: 9780870235634

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3 (Spring 1986); chapter 3, "Form and Protest in Atonal Music: A Meditation on Adorno," in Bucknell Review, ed. Harry Garvin, 29, no. 1, Bucknell University Press (1984); chapter 4, '' 'Appreciation,' 'Obligation,' and an Artwork's End," in Journal of Aesthetic Education 17, no. 2 (Summer 1983), © 1983 Board of Trustees of the University of Illinois; chapter 5, "Artworks That End and Objects That Endure," Journal of Aesthetics and Art Criticism 40, no. 2 (Winter 1981); and chapter 6, ''A Basis for Attributions of 'Art,'" Journal of Aesthetics and Art Criticism 39, no.

This latter view destabilizes style by emphasizing the multiple strains of stylistic origin, by correlating each strain with a competing concept that presumes uniquely to account for that style, and by identifying the artworks that are championed by each such concept. These polemics tend to fade as styles become historically distant, but in the context of recent art the vividness of conceptual conflicts overshadows our Page 5 sense of the underlying agreements. Actually, I view the apparent stability of historical styles with some suspicion.

2. The place of an art within the history of an individual culture. Here, an art form is valued for its capacity to exemplify its own culture, however small the achievement of that culturein the total historical spanmay actually be. Hegel identifies architecture, for example, as a symbolic art and thus as the prime exemplar of a time and place, the ancient East, when "spirit" is only dimly perceived and inchoately expressed. Yet, what can then be expressed is best expressed in architecture because, unlike the other arts, architecture is stylistically congruent, through its "overdependency" on matter, with the conceptual limitations of that culture.

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