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  1. Douglas Anderson (1986). Review of Eva Schaper, Pleasure, Preference and Value. [REVIEW] Idealistic Studies 16 (2):186-187.
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  2. James Andow (2015). A Semantic Solution to the Problem with Aesthetic Testimony. Acta Analytica 30 (2):211-218.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the (...)
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  3. Hanne Appelqvist (2011). On Music, Wine, and the Criteria of Understanding. SATS: Northern European Journal of Philosophy 12 (1):18-35.
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  4. D. C. B. (1961). Review of Engel, The Problem of Tragedy. [REVIEW] Review of Metaphysics 14 (4):723-723.
  5. Carl Baker (forthcoming). An Absolutist Theory of Faultless Disagreement. Pacific Philosophical Quarterly.
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  6. Jiri Benovsky (forthcoming). Against Aesthetic-Sensory Dependence. Nordic Journal of Aesthetics.
    In his book 'The metaphysics of beauty' Nick Zangwill argues for the claim that aesthetic properties metaphysically necessarily depend on sensory properties. This claim plays a role in his argument against physicalist aesthetic realism as well as in the formulation of his own response-dependence view. In this article, I offer reasons to resist the aesthetic/sensory dependence claim by a discussion of the case of theories, theorems, proofs, and similar theoretical objects, which do possess genuinely aesthetic properties, (...)
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  7. Jiri Benovsky (forthcoming). Aesthetic Appreciation of Landscapes. Journal of Value Inquiry:1-16.
    In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense has quite (...)
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  8. Jiri Benovsky (2014). The Limits of Photography. International Journal of Philosophical Studies 22 (5):716-733.
    This paper is about what counts as a photograph and what does not. One way in which this question arises stems from new technologies that keep changing our way of producing photographs, such as digital photography, which not only has now widely replaced traditional film photography but also challenges the very limits of what we count as a photograph. I shall discuss below at some length different aspects of digital photography, but also want to focus here on a new striking (...)
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  9. Luca Bertolino (2010). Die Rolle des Chores in Franz Rosenzweigs Stern der Erlösung. Rosenzweig Jahrbuch / Rosenzweig Yearbook 5:141-159.
    In Franz Rosenzweig's "The Star of Redemption" the chorus comes on stage in three forms: chorus in tragedy (with its presence in ancient classical tragedy and its absence in modern one), chorus of redemption and chorus in church music. Analyzing the role of chorus is useful to study Rosenzweig's aesthetics, which is in a way a "classical" art theory, but not an idealistic "pure" aesthetics, inasmuch as art must be "applied" art. An idealistic pure art condemns us to live in (...)
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  10. Martijn Boven (2015). Kierkegaard's Concepts: Psychological Experiment. In Jon Stewart, Steven M. Emmanuel & William McDonald (eds.), Volume 15, Tome V. Kierkegaard's Concepts: Objectivity to Sacrifice. Ashgate 159-165.
    For Kierkegaard the ‘psychological experiment’ is a literary strategy. It enables him to dramatize an existential conflict in an experimental mode. Kierkegaard’s aim is to study the source of movement that animates the existing individual (this is the psychological part). However, he is not interested in the representation of historical individuals in actual situations, but in the construction of fictional characters that are placed in hypothetical situations; this allows him to set the categories in motion “in order to observe completely (...)
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  11. Robert Greenleaf Brice (2014). Exploring Certainty: Wittgenstein and Wide Fields of Thought. Lexington Books.
    Exploring Certainty: Wittgenstein and Wide Fields of Thought considers how, where, and to what extent the thoughts and ideas found in Wittgenstein’s On Certainty can be applied to other areas of thought, including: ethics, aesthetics, religious belief, mathematics, cognitive science, and political theory. Robert Greenleaf Brice opens new avenues of thought for scholars and students of the Wittgensteinian tradition, while introducing original philosophies about human knowledge and cognition.
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  12. Elisa Caldarola, Davide Quattrocchi & Gabriele Tomasi (eds.) (2013). Wittgenstein, l'estetica e le arti. Carocci.
    In his writings Wittgenstein has touched some key aspects of aesthetic experience, of the experience of art, and of the dynamics of culture. Moreover, several lines of research in these fields have emerged and are still emerging from the roots of Wittgenstein's thought. This volume collects a number of essays on these topics by renowned international scholars (such as H.-J. Glock, J. Hyman, S. Majetschak, J. Schulte, A. Voltolini, and W. Vossenkuhl) and younger researchers. Our aim is to document the (...)
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  13. Tomás N. Castro (2016). Sobre o conceito de luz na metafísica neoplatónica. CECS.
    In the resolution proclaiming 2015 the International Year of Light and Light-based Technologies, the General Assembly of the United Nations drew attention to the importance of light in the lives of the citizens of the world. This is of major importance, not only because light plays a crucial role in fields as diverse as arts, culture or technology, but also because ‘light’ is a major concept within the history of philosophy. Since the first Presocratic philosophers, light had an important role (...)
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  14. Clive Cazeaux (2011). Living Metaphor. Studi Filosofici 34 (1):291-308.
    The concept of ‘living metaphor’ receives a number of articulations within metaphor theory. A review of four key theories – Nietzsche, Ricoeur, Lakoff and Johnson, and Derrida – reveals a distinction between theories which identify a prior, speculative nature working on or with metaphor, and theories wherein metaphor is shown to be performatively always, already active in thought. The two cannot be left as alternatives because they exhibit opposing theses with regard to the ontology of metaphor, but neither can an (...)
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  15. Angela Curran (2012). Aristotle. In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. 21-33.
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  16. Benjamin L. Curtis & Darrin Baines (2016). What Is an Antique? Journal of Aesthetics and Art Criticism 74 (1):75-86.
    Antiques are undoubtedly objects worthy of aesthetic appreciation, but do they have a distinctive aesthetic value in virtue of being antiques? In this article we give an account of what it is to be an antique that gives the thesis that they do have a distinctive aesthetic value a chance of being true and suggests what that distinctive value consists in. After introducing our topic in Section I, in Section II we develop and defend the Adjectival Thesis: the thesis that (...)
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  17. Jean-Baptiste Dussert (forthcoming). De l'expérience à l'être du poétique : une autre phénoménologie de Mikel Dufrenne. In Jean-Baptiste Dussert & Adnen Jdey (eds.), Mikel Dufrenne et l’esthétique Entre phénoménologie et philosophie de la Nature. Presses Universitaires de Rennes
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  18. Robert M. Ellis (2013). Middle Way Philosophy 3: The Integration of Meaning. Lulu.
    This third volume of the Middle Way Philosophy series applies the revolutionary view, taken from cognitive science, that meaning is found in our bodies rather than in a relationship between language and reality. Cognitive and emotive meaning cannot be separated. This approach reveals the basic error of the metaphysical views that depend on absolute cognitive meaning. It also provides the basis for an account of how we can integrate meaning. Each new time we connect an experience to a symbol we (...)
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  19. Andreas Elpidorou (2016). Seeing the Impossible. Journal of Aesthetics and Art Criticism 74 (1):11-21.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections. Theories of depiction should make room for impossible depictions.
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  20. C. E. Emmer (2013). 9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch. In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Publishing 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
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  21. Eva-Maria Engelen (1999). Der Begriff der Liebe in Hegels „Ästhetik“ im Lichte der Vereinigungsphilosophie. Hegel-Studien 34:115-134.
    Die Ausführungen zum Begriff der Liebe in Hegels Ästhetik lassen sich als Spuren der Auseinandersetzung Hegels mit der Vereinigungsphilosophie lesen. Nach der These dieses Aufsatzes enthält die Ästhetik diese Spuren also noch, obgleich Hegels Abschied von der Vereinigungsphilosophie längst vollzogen war, als die Vorlesungen zur Ästhetik entstanden sind. Die Begriffe Philosophie der Vereinigung und Vereinigungsphilosophie bezeichnen Positionen in der Philosophie des 18. Jahrhunderts, die sich mit der Selbstwerdung des Subjekts oder des Bewußtseins befassen und mit der für die Selbstwerdung erforderlichen (...)
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  22. Hector Ferreiro (2011). El Lenguaje Como Elemento Inmanente Del Pensar y la Tesis Hegeliana de la Muerte Del Arte. Kalíope 7 (14):108-122.
    The main claim of Hegel´s System is that in its inner structure reality is consubstantial with subjective reason, so that, in spite of all its eventual contradictions, reality can be understood by the human mind. However, the process of knowledge of the rationality of reality is at the same time the process of self-knowledge of the rationality that defines as such the human mind. In this general process of knowledge-self-knowledge, the different artistic forms and the different periods of the History (...)
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  23. Steven Fesmire (2003). John Dewey and Moral Imagination: Pragmatism in Ethics. Indiana University Press.
    While examining the important role of imagination in making moral judgments, John Dewey and Moral Imagination focuses new attention on the relationship between American pragmatism and ethics. Steven Fesmire takes up threads of Dewey's thought that have been largely unexplored and elaborates pragmatism's distinctive contribution to understandings of moral experience, inquiry, and judgment. Building on two Deweyan notions—that moral character, belief, and reasoning are part of a social and historical context and that moral deliberation is an imaginative, dramatic rehearsal (...)
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  24. Steven Fesmire (1999). Morality as Art: Dewey, Metaphor, and Moral Imagination. Transactions of the Charles S. Peirce Society 35 (3):527 - 550.
    [Abstract drawn from the later development of these ideas in ch. 6, "The Moral Artist," in John Dewey and Moral Imagination (Indiana University Press, 2003).] It is a familiar thesis that art affects moral imagination. But as a metaphor or model for moral experience, artistic production and enjoyment have been overlooked. This is no small oversight, not because artists are more saintly than the rest of us, but because seeing imagination so blatantly manifested gives us new (...)
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  25. Joseph S. Fulda (1993). Computer-Generated Art, Music, and Literature: Philosophical Conundrums. SIGART Bulletin 4 (1):6-7.
    Considers the question of the authorship of the works in the title from a /philosophical/, as opposed to legal, standpoint, using the sense-reference dichotomy, intension-extension dichotomy, and procedural knowledge-declarative knowledge dichotomy. Reaches no conclusion.
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  26. Rick Anthony Furtak (2012). The Value of Being: Thoreau on Appreciating the Beauty of the World. In Rick A. Furtak, Jonathan Ellsworth & James D. Reid (eds.), Thoreau's Importance for Philosophy (Fordham, 2012). 112-126.
  27. Dustin Garlitz (2014). Oral Tradition. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
  28. Dustin Garlitz (2014). Relativism, Cultural. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
  29. Jonathan Gilmore (2013). Normative and Scientific Approaches to the Understanding and Evaluation of Art. Behavioral and Brain Sciences 36 (02):144-145.
    The psycho-historical framework proposes that appreciators' responses to art vary as a function of their sensitivity to its historical dimensions. However, the explanatory power of that framework is limited insofar as it assimilates relevantly different kinds of appreciation and insofar as it eschews a normative account of when a response succeeds in qualifying as an appreciation of art qua art.
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  30. Athanasia Glycofrydi-Leontsini (1996). The Classic and the Romantic in Neohellenic Aesthetics. Annals of Aesthetics 36:191-210.
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  31. Geert Gooskens (2011). Beyond Good and Evil? Morality in Video Games. Philosophical Writings (1):37-44.
  32. Geert Gooskens (2010). Where Am I? The Problem of Bilocation in Virtual Environments. Postgraduate Journal of Aesthetics 7 (3):13-24.
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  33. 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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  34. Eran Guter (2009). Schoenberg and Wittgenstein: The Odd Couple. In V. A. Munz, K. Puhl & J. Wang (eds.), Language and World, Contributions to the 32nd International Wittgenstein Symposium.
    This paper is an elaborate response to Stanely Cavell's suggestion that Schoenberg's idea of the 12-tone row is a serviceable image of Wittgenstein's idea of grammar. I argue that this suggestion underplays what must be a major premise in any argument for yoking Wittgenstein and Schoenberg: Wittgenstein's philosophically entrenched rejection of modern music. I consider this omission in the context of Wittgenstein's idiosyncratic emulation of Schenker's theory of music in order to facilitate a direct comparison between Wittgenstein's and Schoenberg's sharply (...)
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  35. Allan Hazlett & Christy Mag Uidhir (2011). Unrealistic Fictions. American Philosophical Quarterly 48 (1):33--46.
    In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...)
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  36. Matthew Inglis & Andrew Aberdein (2015). Beauty Is Not Simplicity: An Analysis of Mathematicians' Proof Appraisals. Philosophia Mathematica 23 (1):87-109.
    What do mathematicians mean when they use terms such as ‘deep’, ‘elegant’, and ‘beautiful’? By applying empirical methods developed by social psychologists, we demonstrate that mathematicians' appraisals of proofs vary on four dimensions: aesthetics, intricacy, utility, and precision. We pay particular attention to mathematical beauty and show that, contrary to the classical view, beauty and simplicity are almost entirely unrelated in mathematics.
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  37. Robin James (2009). In but Not of, of but Not In: On Taste, Hipness, and White Embodiment. Contemporary Aesthetics 2 (Aesthetics and Race).
    The status of the body figures paradoxically in the interrelated discourses of whiteness, aesthetic taste, and hipness. While Richard Dyer’s analysis of whiteness argues that white identity is “in but not of the body,” Carolyn Korsmeyer’s and Julia Kristeva’s feminist analyses of aesthetic “taste” demonstrate that this faculty is traditionally conceived as something “of” but not “in” the body. While taste directly distances whiteness from embodiment, hipness negatively affirms this same distance: the hipster proves his elite status within white culture (...)
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  38. Galen A. Johnson (2009). The Retrieval of the Beautiful: Thinking Through Merleau-Ponty's Aesthetics. Northwestern University Press.
    Through the framework of Merleau-Ponty's aesthetics, the author explores fundamental themes of the retrieval of the beautiful--desire, repetition, difference, rhythm and the sublime--drawing also from the works of Paul Czanne, August Rodin ...
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  39. Vasso Kindi (2010). Novelty and Revolution in Art and Science: The Connection Between Kuhn and Cavell. Perspectives on Science 18 (3):284-310.
    Both Kuhn and Cavell acknowledge their indebtedness to each other in their respective books of the 60s. Cavell in (Must We Mean What We Say (1969)) and Kuhn in (The Structure of Scientific Revolutions 1962). They were together at Berkeley where they had both moved in 1956 as assistant professors after their first encounter at the Society of Fellows at Harvard (Kuhn 2000d, p. 197). In Berkeley, Cavell and Kuhn discovered a mutual understanding and an intellectual affinity. They had regular (...)
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  40. Matthew Kotzen (2015). The Normativity of Humor. Philosophical Issues 25 (1):396-414.
  41. Odin Kroeger, Günther Friesinger, Paul Lohberger & Eberhard Ortland (eds.) (2011). Geistiges Eigentum und Originalität: Zur Politik der Wissens- und Kulturproduktion. Turia + Kant.
    Mit der zunehmenden Bedeutung immaterieller Güter nimmt auch die Intensität der Konflikte um »Geistiges Eigentum« zu. Dabei fungiert der Mythos vom Original nach wie vor als Grundlage für Rechtsansprüche auf exklusive Verfügungsrechte. Wer ein Urheberrecht in Anspruch nehmen, eine Erfindung anmelden will, muss behaupten, die betreffenden Formen oder Verfahren seien das Ergebnis seiner originären kreativen Leistung. Aber was ist Originalität? Unter welchen Umständen wird sie wem zugerechnet? Dieser Band bietet Bestandsaufnahmen und Analysen der rechtlichen, politischen, ökonomischen und kulturellen Problemlage und (...)
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  42. Donald A. Landes (2015). Expressive Bodies. Research in Phenomenology 45 (3):369-385.
    _ Source: _Volume 45, Issue 3, pp 369 - 385 In “The Vestige of Art,” Jean-Luc Nancy argues that art is neither representation nor inscription, but rather _exscription_. The figure is the vestige of an expressive gesture; it represents neither a separable idea nor the one who traced it but, rather _exscribes_ their presence and their world in the event of expression. As such, Nancy’s aesthetics in _The Muses_ deploys a certain logic of expression best understood in the tradition of (...)
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  43. Hallvard Lillehammer (2008). Values of Art and the Ethical Question. British Journal of Aesthetics 48 (4):376-394.
    Does the ethical value of a work of art ever contribute to its aesthetic value? I argue that when conventionally interpreted as a request for a conceptual analysis the answer to this question is indeterminate. I then propose a different interpretation of the question on which it is understood as a substantial and normative question internal to the practice of aesthetic criticism.
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  44. Errol Lord (2016). On the Rational Power of Aesthetic Testimony. British Journal of Aesthetics 56 (1):1-13.
    Can one know aesthetic facts on the basis of testimony? Optimists say that we can. Pessimists say that we cannot. Daniel Whiting has recently put forth a new argument for pessimism about the epistemic power of aesthetic testimony. He seeks to establish pessimism by arguing that testimonial beliefs cannot justify the downstream reactions that would otherwise be justified if one had aesthetic knowledge. In this paper, I will show that there is a plausible alternative explanation of the data that Whiting (...)
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  45. 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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  46. Hans Maes (2007). Een treffende gelijkenis. Over grappen en kunst. Algemeen Nederlands Tijdschrift voor Wijsbegeerte 99 (4):281-296.
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  47. Christy Mag Uidhir (2013). The Epistemic Misuse & Abuse of Pictorial Caricature. American Philosophical Quarterly 50 (2):137-152.
    I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...)
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  48. Eldonna L. May & Dustin Garlitz (2014). Consumerism. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
  49. Eldonna L. May & Dustin Garlitz (2014). Hegemony. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
  50. Eldonna L. May & Dustin Garlitz (2014). Music Culture. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
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