On Joseph Margolis’ Aesthetics. A Symposium

The essays presented here start from aesthetics in order to propose a unified vision of Margolis’ thought. The main goal in David Hildebrand’s “Art, Artifacts, and Margolis’ Recovery of Objectivity” is to define the connection between objectivity and aesthetics. In their “Why Joseph Margolis has never been an Analytic Philosopher of Art”, Roberta Dreon and Francesco Ragazzi exploit two fundamental cornerstones of Margolis’ philosophy of art to support a continuistic and coherent view of his philosophy. The last essay in the symposium also proposes a unified view of the American philosopher’s thought. In “Margolis, Historicism, and the History of Aesthetics”, Russell Pryba argues that historicism and intentionality play a central role in Margolis’ philosophy, and one way to understand this argument is by analysing the way Margolis reads the history of aesthetics (and philosophy).