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  1. Lars Aagaard-Mogensen & Göran Hermerén (eds.) (1980). Contemporary Aesthetics in Scandinavia. Doxa.
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  2. Derek Allan, Analytic Aesthetics and the Dilemma of Timelessness.
    The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at obvious variance with our experience of the art of the past. Analytic aesthetics avoids examining this key problem because it confines its attention to issues such as the nature of aesthetic pleasure, whether the appreciation of art should (...)
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  3. Derek Allan (2104). André Malraux. In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). 239-243 (Vol 4).
    An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.
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  4. Andrea Baldini (forthcoming). Street Art: A Reply to Riggle. Journal of Aesthetics and Art Criticism 74 (2).
    In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...)
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  5. Andrea Baldini (2015). An Urban Carnival on the City Walls: The Visual Representation of Financial Power in European Street Art. Journal of Visual Culture 14 (2):246-252.
    By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...)
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  6. Andrea Baldini (2015). An Urban Carnival on the City Walls: The Visual Representation of Financial Power in European Street Art. Journal of Visual Culture 14 (2):246-252.
    By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...)
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  7. Martijn Boven (2008). Wat vastgelegd is, misleidt ons: de Cahiers van Paul Valéry. Deus Ex Machina 127:5-6.
    Paul Valéry is de dichter die zwijgt; de denker die weigert filosoof te zijn; de schrijver die de taal in staat van beschuldiging stelt; de expert die volhoudt een amateur te zijn; de mysticus die zijn heil zoekt bij de wiskunde; de stamelaar die aan een kwaal van precisie lijdt; de Narcissus die misschien toch liever Orpheus had willen zijn. Hij is de chroniqueur van het denken en de meester van de tegenspraak. Ik probeer me hem voor te stellen. Het (...)
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  8. Miro Brada, Chess Composition as an Art.
    The article presents the chess composition as a logical art, with concrete examples. It began with Arabic mansuba, and later evolved to new-strategy designed by Italian Alberto Mari. The redefinition of mate (e.g. mate with a free field) or a theme to quasi-pseudo theme, opens the new space for combinations, and enables to connect it with other fields like computer science. The article was exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013.
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  9. Aili Bresnahan (2013). Censorship as Catalyst for Artistic Innovation. Journal for Peace and Justice Studies 23 (2):98-116.
    One kind of government-supported censorship of the arts targets not the expressive content of any particular artwork but instead seeks to suppress the activity of a group of people based on some feature of the group’s human identity such as race, gender or class. Using examples from the history of the development of black music in the United States that followed from the legal oppression of slavery and from evidence of changes in the Punjabi theatre in Pakistan following state-sanctioned suppressions (...)
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  10. David E. Cooper (forthcoming). Music, Nature and Ineffability. Philosophia:1-10.
    In the final chapter of his Ineffability and Religious Experience, Guy Bennett-Hunter proposes that the ineffable may be ‘bodied forth’ through works of art and ritual, and hence engage with our lives. By way of supporting this proposal, this paper discusses some relationships between experiences of music and of natural environments. It is argued that several aspects of musical experience encourage a sense of convergence or intimacy between human practice and nature. Indeed, these aspects suggest a codependence between culture and (...)
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  11. Laura D'Olimpio (2014). Thoughts on Film: Critically Engaging with Both Adorno and Benjamin. Educational Philosophy and Theory 48 (6):622-637.
    There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...)
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  12. Stephen Davies (2007). Balinese Aesthetics. Journal of Aesthetics and Art Criticism 65 (1):21–29.
    According to the Balinese expert, Dr. Anak Agung Mad ´e Djelantik, “no writings about aesthetics specifically as a discipline exist in Bali.”1 The arts are discussed in ancient palm leaf texts, but mainly in connection with religion, spirituality, ceremony, and the like. However, there are famous accounts by expatriate Westerners and anthropologists.2 There have also been collaborations between Balinese and Western scholars.3 In addition, there is a significant literature written in Indonesian by Balinese experts, beginning in the 1970s.4 Considerable experience (...)
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  13. Ryan Drake (2013). Aristotelian Aisthesis and the Violence of Suprematism. Epoché: A Journal for the History of Philosophy 18 (1):49-66.
    Kazimir Malevich’s style of Suprematist painting represents the inauguration of nothing less than a new form of culture premised upon a demolition of the Western tradition’s reifying habits of objective thought. In ridding his canvases of all objects and mimetic conventions, Malevich sought to reconfigure human perception in such a way as to open consciousness to alternative modes of organization and signification. In this paper, I argue that Malevich’s revolutionary aesthetic strategy can be illuminated by a return to the very (...)
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  14. Corey W. Dyck (2004). Spirit Without Lines: Kant's Attempt to Reconcile the Genius with Society. Idealistic Studies 34 (2):151-62.
    In the Anthropology, Kant wonders whether the genius or the individual possessing perfected judgment has contributed more to the advance of culture. In the KU, Kant answers this question definitively on the side of those with perfected judgment. Nevertheless, occurring as it does in §50 of the KU, immediately after Kant’s celebration of the genius in §49, this only raises more questions. Kant rejects the genius in favour of the individual of taste as an advancer of culture, yet under what (...)
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  15. Michalle Gal (2015). Aestheticism: Deep Formalism and the Emergence of Modernist Aesthetics. Peter Lang AG.
    This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers a uniquely synthetic (...)
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  16. Eran Guter (2011). A Surrogate for the Soul: Wittgenstein and Schoenberg. In Enzo De Pellegrin (ed.), Interactive Wittgenstein. Springer 109--152.
    This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas about contemporary music (...)
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  17. Cristian Hainic (2012). The Societal Dimension of Art: On Mara Raţiu’s Art as Social Activity. [REVIEW] Journal for Communication and Culture 2 (1):105-109.
    REVIEW OF Raţiu, Mara. Arta ca activitate socială: avatarurile discursului filosofic asupra artei contemporane (Art as Social Activity: The Avatars of Philosophical Discourse on Contemporary Art). Cluj-Napoca: Casa Cărţii de Ştiinţă, 2011.
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  18. Rebecca Longtin Hansen (2013). Between Theory and Praxis: Art as Negative Dialectics. Studies in Social and Political Philosophy 21:36-51.
    This paper takes up Adorno’s aesthetics as a dialectic between philosophy and art. In doing so, I argue that art provides a unique way of mediating between theory and practice, between concepts and experience, and between subjectivity and objectivity, because in art these relations are flexible and left open to interpretation, which allows a form of thinking that can point beyond itself. Adorno thus uses reflection on art as a corrective for philosophy and its tendency towards ideology.
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  19. Steve Jones (2012). Mindful Violence? The Rambo Series’ Shifting Aesthetic of Aggression. New Review of Film and Television Studies 10 (4).
    Rambo (2008) marked the return of Sylvester Stallone's iconic action hero. What is most striking about the fourth film (as the response from reviewers testifies), is its graphic violence. My intention here is to critically engage with Rambo (2008) as rewriting the series' established aesthetic of violence. My overarching aim is to highlight how the popular press has sought to read the 2008 version of Rambo according to the discursive narratives surrounding Stallone's 1980s action films. The negative response to Rambo, (...)
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  20. Steve Jones (2012). Mindful Violence? The Rambo Series’ Shifting Aesthetic of Aggression. New Review of Film and Television Studies 10 (4).
    Rambo (2008) marked the return of Sylvester Stallone's iconic action hero. What is most striking about the fourth film (as the response from reviewers testifies), is its graphic violence. My intention here is to critically engage with Rambo (2008) as rewriting the series' established aesthetic of violence. My overarching aim is to highlight how the popular press has sought to read the 2008 version of Rambo according to the discursive narratives surrounding Stallone's 1980s action films. The negative response to Rambo, (...)
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  21. Dominic McIver Lopes & Andrea Naomi Walsh (2009). Objects of Appropriation. In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley
  22. Hans Maes (2011). Drawing the Line: Art Versus Pornography. Philosophy Compass 6 (6):385-397.
    Art and pornography are often thought to be mutually exclusive. The present article argues that this popular view is without adequate support. Section 1 looks at some of the classic ways of drawing the distinction between these two domains of representation. In Section 2, it is argued that the classic dichotomies may help to illuminate the differences between certain prototypical instances of pornography and art, but will not serve to justify the claim that pornography and art are fundamentally incompatible. Section (...)
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  23. John Marmysz (2003). Laughing at Nothing: Humor as a Response to Nihilism. SUNY Press.
    Disputing the common misconception that nihilism is wholly negative and necessarily damaging to the human spirit, John Marmysz offers a clear and complete definition to argue that it is compatible, and indeed preferably responded to, with an attitude of good humor. He carefully scrutinizes the phenomenon of nihilism as it appears in the works, lives, and actions of key figures in the history of philosophy, literature, politics, and theology, including Nietzsche, Heidegger, Camus, and Mishima. While suggesting that there ultimately is (...)
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  24. John Marmysz (2002). War, Occupation, and Creativity. [REVIEW] Consciousness, Literature and the Arts 3 (2).
    A review of War, Occupation, and Creativity: Japan and East Asia 1920-1960, edited by Marlene Mayo and Thomas Rimer, with H. Eleanor Kerkham.
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  25. John Marmysz (1996). From Night to Day: Nihilism and the Living Dead. Film and Philosophy 3:138-143.
    Upon its release in 1968, George Romero's Night of the Living Dead was attacked by many critics as an exploitative low budget film of questionable moral value. I argue in this paper that Night of the Living Dead is indeed nihilistic, but in a deeper philosophical sense than the critics had in mind.
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  26. Jakub Ryszard Matyja (2015). Philosophy of the Performing Arts. A Book Review. [REVIEW] Avant: Trends in Interdisciplinary Studies (3):164-166.
    A book review of 'Philosophy of the Performing Arts'.
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  27. Jonathan A. Neufeld (2015). Aesthetic Disobedience. Journal of Aesthetics and Art Criticism 73 (2):115-125.
    This article explores a concept of artistic transgression I call aesthetic disobedience that runs parallel to the political concept of civil disobedience. Acts of civil disobedience break some law in order to publicly draw attention to and recommend the reform of a conflict between the commitments of a legal system and some shared commitments of a community. Likewise, acts of aesthetic disobedience break some entrenched artworld norm in order to publicly draw attention to and recommend the reform of a conflict (...)
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  28. Jonathan A. Neufeld (2009). Musical Formalism and Political Performances. Contemporary Aesthetics 7.
    Musical formalism, which strictly limits the type of thing any description of the music can tell us, is ill-equipped to account for contemporary performance practice. If performative interpretations are in a position to tell us something about musical works—that is if performance is a kind of description, as Peter Kivy argues—then we have to loosen the restrictions on notions of musical relevance to make sense of performance. I argue that musical formalism, which strictly limits the type of thing any description (...)
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  29. Klaus Ottmann (2004). The Genius Decision: The Extraordinary and the Postmodern Condition. Spring Publications.
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  30. Brandon Polite (2014). The Varieties of Musical Experience. Pragmatism Today 5 (2):93-100.
    Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...)
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  31. Nick Riggle (forthcoming). Using the Street for Art: A Reply to Baldini. Journal of Aesthetics and Art Criticism 74 (2).
    I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it is not always (...)
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  32. Nick Riggle (2014). Street Art and Graffiti. In Michael Kelly (ed.), Oxford Encyclopedia of Aesthetics (2nd Edition). Oxford University Press
    A brief overview of work on street art and graffiti.
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  33. Brian Rosebury (2000). The Historical Contingency of Aesthetic Experience. British Journal of Aesthetics 40 (1):73-88.
    The paper seeks to defend the following view. Aesthetic experience is historically contingent. Each of us is situated at a unique point in space and time, from which standpoint we continuously imagine our personal, and our collective, history. Our experience of any object of aesthetic intention is susceptible of being influenced by associations, that is by our locating the contemplated object in relation to some part or parts of this imagined history. We should not be embarrassed by the role that (...)
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  34. Klaus Sachs-Hombach & Joerg R. J. Schirra (2009). Medientheorie, visuelle Kultur und Bildanthropologie. In Bildtheorien. Anthropologische und kulturelle Grundlagen des Visualistic Turn. Suhrkamp 393-426.
    Die gegenwärtig zu beobachtende Betonung des Visuellen ist den modernen Informationsgesellschaften zutiefst inhärent, weil erstens jene schon von ihrem Begriff her Mediengesellschaften sind (insofern Information immer nur medial zugänglich ist) und weil zweitens insbesondere die technischen Massenmedien ganz wesentlich als Bildmedien Bedeutung erlangen. In der Folge dieser Entwicklung dürfte ganz allgemein die Erzeugung von Sinn zunehmend im Zusammenhang von Zeige- statt (nur) von Sprechhandlungen auftreten. Dem steht bisher eine mangelnde Bildkompetenz gegenüber sowohl seitens der Forschung wie auch der Laien. Der (...)
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  35. Martina Sauer, Bildkraft und Tatkraft: Zum Verhältnis von ästhetischer Erfahrung und Technik im Anschluss an Cassirer, Langer und Krois. Kongress-Akten, Deutsche Gesellschaft Für Ästhetik, Bd. 3.
    The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through (...)
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  36. Martina Sauer (2015). Visualität Und Geschichte. Bilder Als Historische Akteure Im Anschluss an Verköperungstheorien. In Grüne Niels & Oberhauser Claus (eds.), Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation, Göttingen 2015. V&R Unipress 39-60.
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  37. Martina Sauer (2015). Visualität und Geschichte. Bilder als historische Akteure im Anschluss an Verkörperungstheorien. In Grüne Niels & Oberhauser Claus (eds.), Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation, Göttingen 2015. V&R Unipress 39-60.
    What we see in pictures, to what extend is it relevant for the future? Instead of looking for the answer in the representation, it is the perception itself as theories of embodiment suggest which can be made responsible for it. -/- Ist das, was wir in Bildern sehen, für die Zukunft relevant? Statt die Antwort in der Darstellung zu suchen, ist es die Wahrnehmung selbst, wie es Verkörperungstheorien nahelegen, die dafür verantwortlich gemacht werden kann.
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  38. Martina Sauer (2015). Visualität und Geschichte. Bilder als historische Akteure im Anschluss an Verköperungstheorien. In Grüne Niels & Oberhauser Claus (eds.), Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation, Göttingen 2015. V&R Unipress 39-60.
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  39. Gregor Schiemann (2002). Der Zweite Blick. Realismus Und Rousseauismus in der Amerikanischen Dokumentationsfotografie. In Mahayni Z. (ed.), Neue Ästhetik - Das Atmosphärische und die Kunst.
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  40. Yvonne Sherratt (2007). Adorno's Aesthetic Concept of Aura. Philosophy and Social Criticism 33 (2):155-177.
    Philosophers within the discipline of the history of philosophy have long since demonstrated a preoccupation with the history of aesthetic ideas. However, not all aesthetic concepts in 19th- and 20th-century thought have been given an adequate analysis. One concept which, while attracting interest in literary theory debates, has rarely been mentioned in history of philosophy debates, is that of aura . The reason for the marginal role of aura in present debates is due no doubt to the difficult and sometimes (...)
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  41. Yvonne Sherratt (1998). Aura: The Aesthetic of Redemption? Philosophy and Social Criticism 24 (1):25-41.
    Adorno and Benjamin offer us an aesthetic concept, that of aura. The analysis of this has tended to circumnavigate the concept, that is, it has examined the historical dimension to aura, or turned to the texts of Adorno and Benjamin with a view to finding discrepancies between their theses. However, the important conceptual detail has not been explored with suf ficient rigour. My question is a simple one: what is aura? How do we piece together its various features such as (...)
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  42. Stephen Snyder (2015). The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge. CounterText 1 (3).
    Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...)
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  43. Stephen Snyder, Gezi Park and the Transformative Power of Art. ROAR Editorial: Gezi and the Spirit of Revolt.
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  44. Claude Therien (2010). Aesthetic Judgment Under the Pressure of Modern Life Following Simmel and Valery. Revue Philosophique De Louvain 108 (4):639-661.
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  45. Emine Hande Tuna (2014). The Science of Culture and the Phenomenology of Styles by Renato Barilli. [REVIEW] University of Toronto Quarterly 83 (2):469-470.
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  46. Paulo Vélez León (2012). Is There an Islamic Art? A Possible Question About the Status of Islamic Art, From a Western Perspective. ASRI – Arte y Sociedad. Revista de Investigación 2:1-7.
    The question of the status-onto-epistemological-the art is plausible to apply it to any context and cultural domain? Some authors argue that yes without any remorse, address this position in this note: [1] makes a briefly is a bibliographic description of the debates on this problematic, [2] raises the issue of the status of art, within the framework supported by Belting and Lessing, and [3] in correspondence with the above, indicated summarily the difficulties and considerations to take into account when attempting (...)
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  47. Raymond Aaron Younis (1997). Written Among the Living. Westerly 42 (3):101-112.
  48. Raymond Aaron Younis (1997). Orientalism. [REVIEW] Asian Studies Review 21 (1):168-170.
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  49. Raymond Aaron Younis (1997). Orientalism: History Theory and the Arts. [REVIEW] Asian Studies Review 21 (1):166-168.
  50. 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.
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