1[1]Morris Weitz,"The Role of Theory In Aesthetics",Aesthetics:A Comprehensive Anthology,Edited by Steven M.Cahn and Aaron Meskin,Malden,MA:Blackwell Pub.,2008,p.411.
2[3]Maurice Mandelbaum,"Family Resemblances and Generalization Concerning the Arts",AesthPtics:Critical Con-cepts in Philosophy,edited by James O.Young,London;New York:Routledge,2005,P.32.
3[2]Arthur Danto,"The Artworld",Aesthetics:A Comprehensive Anthology,Edited by Steven M.Cahn and Aaron Meskin.Malden,MA:Blackwell Pub.,2008,P.418.
4[1][2]George Dickie,"What is Art?An Institutional Analysis",Aesthetics:A Comprehensive Anthology,Edited by Steven M.Cahn and Aaron Meskin,Malden,MA:Blaekwell Pub.,2008,P.429、431.
5[3]George Dickie,The Art Circle:A Theory of Art,New York:Haven,1984,PP.80-82.
6[4]George Dickie,"Defining Art:Intension and Extension",The Blackwell Guide to Aesthetics,ed.by Peter Kivv,Malden,MA:Blackwell Publishing Ltd,2004,PP.48-49.
7[2]Jerrold Levinson,"Defining Art Historically",Aesthetics:Critical Concepts in Philosophy,edited by James O.Young,London;New York:Routledge,2005,p59.
8[3]Nelson Goodman,"When is Art?"Aesthetics:Critical Concepts in Philosophy,edited by James O.Young,London;New York:Routledge,2005,p441.
