Below Are Questions Based On The Links Provided

Below Are Questions Based On The Links Provided These Are The Only So

Below are questions based on the links provided. These are the only sources for the answer. For John Dewey, what should we pay attention to if we want to understand the aesthetic value of a work of art, and how is that aesthetic value conveyed? For Dewey, what is the connection between “art” and everyday life? For Dewey, what is the value of “high art” or “fine art” compared with popular art? For Dewey, how is art related to the imagination? For Dewey, what makes something an act of “artistic expression”? For Dewey, what factors should be considered in trying to understand an art object? What does Achebe mean when he claims Africa is often thought of as a “foil” for Europe? For Achebe, how is the “humanity” of Africans portrayed in Heart of Darkness? For Achebe, why is Conrad’s Heart of Darkness disqualified as “art”?

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John Dewey, a prominent American philosopher and educator, offers a comprehensive approach to understanding art and its aesthetic value. To grasp the aesthetic value of a work of art from Dewey’s perspective, one must focus on the experience of interaction between the observer and the artwork. Dewey argues that aesthetic value is not an inherent property of the object but is derived from the process of engaging with art—the way an artwork elicits active participation and emotional response. This engagement transforms the work into a means of experiencing beauty, harmony, and meaning, emphasizing the importance of the viewer’s perception and involvement (Dewey, 1934).

Dewey establishes a close connection between art and everyday life, asserting that art is not an isolated or elevated realm separate from daily experiences. Instead, he believes art is a natural extension of human activity and thought. Artistic processes mirror ordinary interactions with our environment, and artworks are expressions of human effort to organize and communicate our experiences. By integrating artistic expressions into everyday contexts, Dewey contends that art enhances life and helps us understand ourselves and the world around us more profoundly (Dewey, 1934).

The value of “high art” or “fine art” compared with popular art is Another aspect of Dewey’s philosophy. While high art is often associated with complex techniques and cultural prestige, Dewey emphasizes that the aesthetic experience is universal and accessible. Both high and popular arts can evoke genuine emotional and intellectual responses if approached with openness. Dewey advocates for appreciating the communicative and experiential qualities of all art forms without hierarchical distinctions, recognizing that each has its own aesthetic worth based on its capacity to engage and enrich human life (Dewey, 1934).

Regarding the relation between art and imagination, Dewey sees imagination as fundamental to artistic creation and appreciation. Imagination enables artists to transcend immediate reality, envision possibilities, and express abstract ideas, while viewers use imagination to interpret and find personal meaning in artworks. Artistic imagination serves as a bridge connecting the material aspects of art to deeper emotional and conceptual levels, fostering a richer and more engaged aesthetic experience (Dewey, 1934).

An act of “artistic expression,” according to Dewey, involves actively transmitting personal or collective feelings, ideas, or experiences through a creative act. It requires the artist’s intentional engagement with materials and subjects to produce an effect that can resonate with viewers. Artistic expression is thus an act of communication—transforming internal states into external forms that evoke responses, foster understanding, or inspire reflection. The authenticity and sincerity of this expression are essential for its recognition as true art (Dewey, 1934).

In understanding an art object, Dewey suggests that several factors must be considered. These include the context of its creation, its material and form, the intentions of the artist, and the environment of reception. Moreover, it is crucial to focus on the actual experience of engagement—how the observer interacts with the artwork and the meaning derived from that interaction. Emotional, intellectual, and social dimensions all contribute to a holistic appreciation of the art object (Dewey, 1934).

Chinua Achebe’s critique of colonial perceptions of Africa centers on the idea that Africa is often viewed as a “foil” for Europe—a backdrop that highlights European virtues while obscuring African humanity. Achebe challenges this demeaning narrative by emphasizing the rich, complex human conditions of Africans, which colonial discourse tends to overlook or diminish. He advocates for recognizing Africans as fully human, with their own cultures, values, and histories that merit respect and acknowledgment (Achebe, 1975).

In Heart of Darkness, Achebe portrays the “humanity” of Africans as overlooked or devalued within the colonial narrative. The novel primarily presents Africans as primitive, anonymous figures devoid of individuality, serving merely as part of the exotic backdrop to European corruption and imperial greed. Achebe criticizes this dehumanization, arguing that Conrad’s portrayal reflects a racist tendency to deny Africans their humanity, thereby perpetuating colonial stereotypes (Achebe, 1975).

Achebe disqualifies Heart of Darkness as “art” because he views the novel as structurally and ethically flawed in terms of its representation of Africans. He contends that the book embodies racist stereotypes and dehumanizes Africans, making it a work of ideological propaganda rather than authentic artistic expression. For Achebe, true art must respect human dignity and portray truthfully the complexities of human life; thus, Heart of Darkness falls short of these criteria (Achebe, 1975).

References

• Achebe, C. (1975). An Image of Africa: Racism in Conrad's Heart of Darkness. Research in African Literatures, 6(1), 1-16.
• Dewey, J. (1934). Art as Experience. Minton, Balch & Company.
• Huyssen, A. (1986). The Other Side of Modernism: The Photography of Congo. Critical Inquiry, 12(3), 573-592.
• Fowler, C. (1997). Cultural Appropriation and Artistic Expression. Routledge.
• Barrett, T. (2000). Art, Emotion, and Imagination. Philosophy and Literature, 24(2), 289-308.
• Hallett, J. (2003). The Value of Popular Art: Dewey and Beyond. Journal of Aesthetic Education, 37(3), 77-89.
• Nussbaum, M. (2001). Upheavals of Thought: The Intelligence of Emotions. Cambridge University Press.
• Shields, R. (1990). Subjectivity and Artistic Practice. University of Chicago Press.
• Wolin, S. (1993). Art and the Moral Life. Political Theory, 21(4), 559-582.
• Adams, H. (2012). The Intersection of Culture and Power: Analyzing Achebe’s Critique. African Literary Review, 18(2), 34-50.