Abstract
Abstract It is difficult for the younger philosophers of art to quite realize what state the discipline was in when the students of my generation entered graduate school in the late 1950s and early 1960s. It was, frankly speaking, a desert with one great oasis: Monroe Beardsley’s Aesthetics: Problems in the Philosophy of Criticism (1958). Further more, the British analytic philosophers of those years, whom we wished so to emulate, had declared Aesthetics a non-subject. Taste, criticism, art, and beauty were, they argued, not susceptible of a philosophical critique. For a graduate student in philosophy to declare an interest in Aesthetics, the ‘dreary science,’ was an embarrassment.
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