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  1. Emmanuel Alloa (2005). Bare Exteriority. Philosophy of the Image and the Image of Philosophy in Martin Heidegger and Maurice Blanchot. Colloquy (10):69-82.
    The article explores the striking coincidences in Heidegger's and Blanchot's account of the image as death mask. The analysis of the respective theories of the image brings forth two radically divergent conceptions of thinking as "laying patent" (Heidegger) and of thinking as "laying bare" (Blanchot).
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  2. Franz Brentano (1959). Grundzüge der Ästhetik. Francke.
    Brentanos Schriften zur Ästhetik schließen eng an das Grundprinzip der Logik und Ethik, die unmittelbare Einsicht in die Richtigkeit eines Urteils bzw. einer Gemütstätigkeit an: Auch das Schöne wird mit unmittelbarer Evidenz als liebenswert erfahren und einsichtig vom Unschönen unterschieden.
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  3. Victoria I. Burke (1997). Carolyn Bailey Gill, Ed., Maurice Blanchot: The Demand of Writing Reviewed By. Philosophy in Review 17 (6):409-411.
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  4. Ulrika Carlsson (2014). Kierkegaard's Phenomenology of Spirit. European Journal of Philosophy 22 (2).
    Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside (the inwardness of faith and the outwardness of ethics and language; the inwardness of emotion and the outwardness of behavior), he nonetheless understands the task of the philosopher as that of (...)
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  5. Brian P. Copenhaver & Rebecca Copenhaver (2008). How Croce Became a Philosopher. History of Philosophy Quarterly 25 (1):75 - 94.
  6. John Dilworth (2005). Resemblance, Restriction, and Content-Bearing Features. Journal of Aesthetics and Art Criticism 63 (1):67–70.
    In "A Restriction for Pictures and Some Consequences for a Theory of Depiction", Journal of Aesthetics and Art Criticism 61, 4 (2003): 381-394, Michael Newall defended a resemblance view of depiction. He concentrated on pictures X involving a perpendicular view of the physical surface of another picture Y, and argued that the actual restrictions on what picture X can depict of Y's physical surface are best explained by a strict resemblance or similarity view. But I show that there are many (...)
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  7. John Dilworth (2003). Medium, Subject Matter and Representation. Southern Journal of Philosophy 41 (1):45-62.
    I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, (...)
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  8. Gene Fendt (1997). Book Review: Mimesis: Culture, Art, Society. [REVIEW] Philosophy and Literature 21 (1):199-201.
  9. Chrysoula Gitsoulis (2012). Wittgenstein and Surrealism. Topics in Philosophy: Philosophical Methodology 13 (1):74-84.
    There are two aspects to Wittgenstein’s method of deconstructing pseudo-philosophical problems that need to be distinguished: (1) describing actual linguistic practice, and (2) constructing hypothetical ‘language-games’. Both methods were, for Wittgenstein, indispensable means of clarifying the ‘grammar’ of expressions of our language -- i.e., the appropriate contexts for using those expressions – and thereby dissolving pseudo-philosophical problems. Though (2) is often conflated with (1), it is important to recognize that it differs from it in important respects. (1) can be seen (...)
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  10. Eran Guter (2010). Ornamentality in the New Media. In Anat Biletzki (ed.), Hues of Philosophy: Essays in Memory of Ruth Manor. College Publications 83-96.
    Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under conditions (...)
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  11. Eran Guter & Inbal Guter (2015). Impurely Musical Make-Believe. In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter 283-306.
    In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...)
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  12. James R. Hamilton (1995). Handke's Kaspar, Wittgenstein's Tractatus, and the Successful Representation of Alienation. Journal of Dramatic Theory and Criticism 9 (2):3-26.
    An investigation of Handke's play by means of an analysis of the elements of the Tractatus, known to have influenced Handke at the time he wrote Kaspar. This approach yields a much more plausible account of Handke's representation of his central character's alienation than are available from now-standard semiotic and post-structuralist analyses.
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  13. Robert Hopkins (2005). Sculpture. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford 572-582.
    What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views of Susanne (...)
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  14. Gaetano Iaia (2011). Rappresentazione dell’inimmaginabile: l’immagine sacra, silenzioso “segno messianico”. Capys 2 (2):255-267.
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  15. Christoph Jäger & Georg Meggle (eds.) (2005). Kunst Und Erkenntnis (Art and Knowledge). Mentis.
    Dient Kunst der Erkenntnis? Vermittelt sie Einsichten oder Wissen? Und wenn ja: auf welche Weise? Sind ästhetische Urteile wahr oder falsch? Beruht unsere Wertschätzung von Kunst auf ihren kognitiven Funktionen? Zu diesen Fragen, die zu den klassischen Themen der Kunstphilosophie gehören, beziehen zehn Philosophen aus dem deutschen Sprachraum in Originalbeiträgen Position. Der Band dokumentiert den gegenwärtigen Stand der Kontroversen zwischen kognitivistischen und nichtkognitivistischen Theorien der Kunst und der Kunstbewertung. Mit Beiträgen von Rüdiger Bittner, Sabine A. Döring, Christoph Jäger, Bernd Kleimann, (...)
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  16. Erman Kaplama (2010). Introduction to Cosmological Aesthetics: The Kantian Sublime and Nietzschean Dionysian. International Journal of the Humanities 8 (2):69-84.
    This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
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  17. Gavin Keeney (2010). Art as "Night": An Art-Theological Treatise. Cambridge Scholars Publishing.
    Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...)
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  18. L. Kvasz (2000). Epistemological Aspects of Modern Painting. Filozofia 55 (8):601-619.
    The aim of the paper is to analyse the geometrical aspects of a series of modern paintings and to show the parallel between them and the development of modern geometry. It starts with El Greco, offering a geometrical explanation of his painting the figures in a prolonged manner. Further the analogy between the impressionist way of creating space and the geometrical idea of Cayley to use projective space as a basis for non-Euclidean geometry is reconstructed. Next the paper describes the (...)
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  19. Jennifer Matey (forthcoming). Good Looking. Philosophical Issues.
    Studies show that people we judge to have good character we also evaluate to be more attractive. I argue that in these cases, evaluative perceptual experiences represent morally admirable people as having positive (often intrinsic) value. Learning about a person's positive moral attributes often leads us to feel positive esteem for them. These feelings of positive esteem can come to partly constitute perceptual experiences. Such perceptual experiences evaluate the subject in an aesthetic way and seem to attribute aesthetic qualities like (...)
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  20. John Michael McGuire (1999). Pictorial Metaphors: A Reply to Sedivy. Metaphor and Symbol 14 (4):293-302.
    This article is concerned with the question of whether, and to what extent, the concept of metaphor properly applies to pictures (e.g., paintings or photographs). The question is approached dialectically through an examination of the views of Sonia Sedivy, who advances the following 4 claims: (a) that pictures possess propositional content, (b) that there are metaphoric pictures, (c) that metaphoric pictures do not possess metaphoric content, and (d) that there can be no theory of pictorial metaphor. Although the first of (...)
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  21. Jennifer A. McMahon (2009). Review of The Meaning of the Body: Aesthetics of Human Understanding. [REVIEW] Mind 118 (471):843-846.
    In this clearly written and well argued book, Mark Johnson presents a theory of embodied cognition and discusses the implications it has for theories of meaning, language and aesthetics. His pragmatist foundations are on show when he writes that ‘The so-called norms of logical inference are just the patterns of thinking that we have discovered as having served us well in our prior inquiries, relative to certain values, purposes, and types of situations’ (p.109). Johnson’s particular contribution to theories of meaning (...)
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  22. Jennifer A. McMahon (2002). Review of Making Sense. A Theory of Interpretation. [REVIEW] Australasian Journal of Philosophy 80 (1):107 – 109.
    The distinctive feature of Thom’s theory of interpretation is that it takes the classicist view regarding the stability of the object of interpretation, and the post-structuralist view regarding what counts as interpretation. Accordingly, he must admit the possibility that any one object of interpretation, stable though it be, can have multiple (yet possibly incommensurable) successful interpretations.
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  23. Joseph Nechvatal (2005). Immersive Excess in the Apse of Lascaux. Technoetic Arts 3 (3):181-192.
    This paper will investigate the anonymous collective of skilled artists which created an immersive work of art of a high order in the Abside (Apse) of the Grotte de Lascaux. The Apse is a roundish, semi-spherical, penumbra-like chamber (like those adjacent to romanesque basiliques) approximately 4.5 metres in diameter (about 5 yards) covered on every wall surface (including the ceiling) with thousands of entangled, overlapping, engraved drawings (Leroi-Gourhan, 1968, p. 315) for which, on request, I received a very unique privilege (...)
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  24. Grüne Niels & Oberhauser Claus (eds.) (2015). Jenseits des Illustrativen. Visuelle Medien Und Strategien Politischer Kommunikation, Göttingen 2015. V&R Unipress.
  25. José Ortega Y. Gasset & Helene Weyl, tr (1948). The Dehumanization of Art, and Notes on the Novel. Princeton University Press.
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  26. Brandon E. Polite (2010). A Correspondence Theory of Musical Representation. Dissertation, University of Illinois Urbana-Champaign
    This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an intellectual struggle for what each side took to be the very future of music as an art. I side with the progressives, and argue that music can be and often is a representational medium. Correspondence (or resemblance) theories (...)
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  27. Mark Textor (2008). Samples as Symbols. Ratio 21 (3):344-359.
    Nelson Goodman and, following him, Catherine Z. Elgin and Keith Lehrer have claimed that sometimes a sample is a symbol that stands for the property it is a sample of. The relation between the sample and the property it stands for is called 'exemplification' (Goodman, Elgin) or 'exemplarisation' (Lehrer). Goodman and Lehrer argue that the notion of exemplification sheds light on central problems in aesthetics and the philosophy of mind. However, while there seems to be a phenomenon to be captured, (...)
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  28. Raymond Aaron Younis (2009). Space, Time, Being, and Estrangement. Literature & Aesthetics 19 (2):41-49.
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  29. Raymond Aaron Younis (1997-1998). Race Representation and Nation. Australian Canadian Studies 15 (2):43-65.
  30. Raymond Aaron Younis (1995). BeDevil. In Scott Murray (ed.), Australian Film 1978-1994. Oxford University Press
  31. Raymond Aaron Younis (1995). The Last "Post". In Michel Griifith James Tulip & Raymond Aaron Younis Elaine Lindsay (eds.), Religion Literature and the Arts. 348-359.