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  1. Lars Aagaard-Mogensen & Göran Hermerén (eds.) (1980). Contemporary Aesthetics in Scandinavia. Doxa.
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  2. 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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  3. 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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  4. 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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  5. 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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  6. 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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  7. Dominic McIver Lopes & Andrea Naomi Walsh (2009). Objects of Appropriation. In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
  8. Hans Maes (2011). Drawing the Line: Art Versus Pornography. Philosophy Compass 6 (6):385-397.
  9. 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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  10. 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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  11. 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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  12. 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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  13. Klaus Ottmann (2004). The Genius Decision: The Extraordinary and the Postmodern Condition. Spring Publications.
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  14. Gregor Schiemann (2002). Er Zweite Blick. Realismus Und Rousseauismus in der Amerikanischen Dokumentationsfotografie. In Mahayni Z. (ed.), Neue Ästhetik - Das Atmosphärische und die Kunst.
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  15. 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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  16. 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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  17. Nick Zangwill (2002). Against the Sociology of the Aesthetic. Cultural Values 6 (4):443-452.
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