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  1. Dina Zoe Belluigi (2011). Intentionality in a Creative Art Curriculum. Journal of Aesthetic Education 45 (1):18-36.
    Much debated in the curriculum content of cultural studies, the subject of intentionality and interpretation has not been given as much attention in terms of teaching and learning in higher education (HE). Various modernist and postmodernist approaches differ considerably, and these inevitably inform lecturers’ notions, whether consciously or unconsciously. Of particular concern is how such ideas influence teaching, learning, and assessment in creative disciplines such as art, design, music, and creative writing. In this paper approaches to intentionality and interpretation in (...)
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  2. Simon Fokt (2011). Constructive Thoughts on Pierre Menard. Philosophy and Literature 35 (2):338-347.
    Interpretational monists and pluralists most often accept contextualism. At the same time, most of them resist constructivism, which takes all interpretations of artworks to be separate artworks. However, one of the central arguments to establish contextualism, based on Borges’ story of Pierre Menard, is so formulated that using it can force all contextualists into accepting constructivism. This paper points out the under-specification present in the philosophical use of the Pierre Menard example to then combine it with arguments presented by contextualists (...)
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  3. K. E. Gover (2012). What is Humpty-Dumptyism in Contemporary Visual Art? A Reply to Maes. British Journal of Aesthetics 52 (2):169-181.
    In a recent article, Hans Maes argues that examples drawn from contemporary visual art shed new light on the long-standing and seemingly intractable debate between Hypothetical Intentionalism (HI) and Moderate Actual Intentionalism (AI). He presents two test cases that, he argues, tilt the scale in favour of AI. In this paper I re-examine Maes's two test cases, and argue that neither succeeds as a test case. The first case fails because it confuses a relevant fact about the artwork with the (...)
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  4. James R. Hamilton (2006). Understanding Plays. In Saltz Krasner (ed.), Staging Philosophy.
    Hamilton argues that there is a level of understanding of theatrical performances, and narrative performances in particular (called "plays"), that does not require grasp of the large-scale aesthetic features that usually inform the structure of what is presented. This "basic understanding" is required for any spectator to go on to have a deeper understanding and, so, grounds any spectator's understanding of the larger-scale features of a performance.
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  5. Marzenna Jakubczak (2011). Przyroda w filozofii i kulturze Indii. Kultura Współczesna (1):171-182.
    W artykule rozważane są rozmaite semantyczne i symboliczne relacje, w jakich ujmuje się przyrodę na gruncie filozofii, kosmologii i estetyki indyjskiej. Punktem wyjścia jest charakterystyka wewnętrznej dynamiki przyrody, w którą wpisane jest nieustanne zderzanie się biegunowych jakości. Przedstawione są m.in. wedyjskie kosmogoniczne rozważania, konstatujące samorodność i substancjalną jednorodność cyklicznej natury, oraz pięć reprezentatywnych filozoficznych koncepcji przyrody. Autorka podkreśla także swoistą współzależność pomiędzy afirmowaną wizją przyrody a kulturowymi reprezentacjami natury ludzkiej.
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  6. Anthony Jannotta (2014). Interpretation and Conversation: A Response to Huddleston. British Journal of Aesthetics 54 (3):371-380.
    The conversation argument for actual intentionalism compares our encounters with artworks to conversations to support the interpretive policy that artists’ intentions should constrain our interpretations of their artworks. Andrew Huddleston argues that intentionalists cannot appeal to conversation, because either the metaphor is inapt (since two conversational requirements go unfulfilled) or, if the metaphor is more aptly construed (as a meta-level dialogue between artist and interpreter on how best to interpret the artwork), it will be incompatible with the intentionalist’s interpretive policy. (...)
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  7. Machiel Keestra (2014). Mirrors of the Soul and Mirrors of the Brain? The Expression of Emotions as the Subject of Art and Science. In Gary Schwartz (ed.), Emotions. Pain and pleasure in Dutch painting of the Golden Age. nai010 publishers. 81-92.
    Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...)
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  8. Patrick Maynard (2007). Review of James Cutting, Impressionism and its Canon. Journal of Aesthetics and Art Criticism 65 (2):246–248.
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  9. Patrick Maynard (1968). Review of Arthur Child, Interpretation: A General Theory. Philosophical Review 78 (1):106-109.
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  10. Andrea Sauchelli (2013). The Merited Response Argument and Artistic Categories. Journal of Aesthetics and Art Criticism 71 (3):239-246.
    The merited response argument is an argument in favor of artistic ethicism. According to this view, the interaction between art and morality is such that a moral defect in a work of art negatively influences the work's artistic value (and a moral merit, when relevant, is always an artistic merit). I contend that the argument relies on a criterion of aesthetic and artistic relevance that, when properly understood, fails to constitute a premise that either the artistic contextualist or the autonomist (...)
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  11. Martina Sauer (2013). Verantwortung - Vom Aufladen Mit Bedeutung in Kunst Und Sprache. Zu den Konsequenzen Aus den Kulturanthropologischen Ansätzen von Cassirer, Warburg Und Böhme. In Oxen, Kathrin und Sagert, Dietrich (Hrsg.): Mitteilungen - zur Erneuerung evangelischer Predigtkultur, Leipzig 2013 (Kirche im Aufbruch ; 5). 15-33.
    So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...)
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  12. Robert Stecker (2003). Interpretation and Construction: Art, Speech, and the Law. Blackwell.
    Interpreting the everyday -- Art interpretation : the central issues -- A theory of art interpretation : substantive claims -- A theory of art interpretation : conceptual and ontological claims -- Radical constructivism -- Moderate and historical constructivism -- Interpretation and construction in the law -- Relativism versus pluralism.
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