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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2016-02-12
    Thomas J. Mulherin (2016). Is a Kantian Musical Formalism Possible? Journal of Aesthetics and Art Criticism 74 (1):35-46.
    In this article, I consider whether a suitably stripped-down version of Kant's aesthetic theory could nevertheless provide philosophical foundations for musical formalism. I begin by distinguishing between formalism as a view about the nature of music and formalism as an approach to music criticism, arguing that Kant's aesthetics only rules out the former. Then, using an example from the work of musicologist and composer Edward T. Cone, I isolate the characteristics of formalist music criticism. With this characterization in mind, I (...)
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  2. added 2016-02-12
    Allison Fritz (2016). Wolf, Susan, and Peter Grau, Eds. Understanding Love: Philosophy, Film, and Fiction. Oxford University Press, 2014, Xiii + 397 Pp., $29.95 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 74 (1):104-106.
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  3. added 2016-02-12
    Rossen Ventzislavov (2016). The Curator as Artist: Reply to Sue Spaid. Journal of Aesthetics and Art Criticism 74 (1):91-95.
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  4. added 2016-02-12
    Mark Silcox (2016). Grossman, Morris. Art and Morality: Essays in the Spirit of George Santayana. Fordham University Press, 2014, Xvi + 315 Pp., 3 B&W Illus., $85.00 Cloth, $26.00 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 74 (1):110-112.
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  5. added 2016-02-12
    Stefan Caris Love (2016). The Jazz Solo as Virtuous Act. Journal of Aesthetics and Art Criticism 74 (1):61-74.
    This article presents a new aesthetic of the improvised jazz solo, an aesthetic grounded in the premise that a solo is an act indivisible from the actor and the context. The solo's context includes the local and large-scale conventions of jazz performance as well as the soloist's other work. The theme on which a solo is based serves not as a “work,” but as part of the solo's stylistic context. Knowledge of this context inheres directly into proper apprehension of the (...)
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  6. added 2016-02-12
    Owen Hulatt (2016). The Problem of Modernism and Critical Refusal: Bradley and Lamarque on Form/Content Unity. Journal of Aesthetics and Art Criticism 74 (1):47-59.
    In this article I revisit A. C. Bradley's account of form/content unity through the lens of both Peter Kivy's and Peter Lamarque's recent work on Bradley's lecture “Poetry for Poetry's Sake.” I argue that Lamarque gives a superior account of Bradley's argument. However, Lamarque claims that form/content unity should be understood as an imposition applied by the reader to poetry. Working with the counterexample of modernist poetry, I throw doubt on both this claim and some (...)
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  7. added 2016-02-12
    Matteo Ravasio (2016). Wolff, Francis. Pourquoi la Musique? Paris: Fayard, 2015, 458 Pp., €22.00 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 74 (1):113-115.
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  8. added 2016-02-12
    J. Tyler Friedman (2016). Feige, Daniel Martin. Philosophie des Jazz. Berlin: Suhrkamp Verlag, 2014, 142 Pp., €14,00. [REVIEW] Journal of Aesthetics and Art Criticism 74 (1):108-110.
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  9. added 2016-02-12
    Sheryl Tuttle Ross (2016). Levinson, Jerrold. Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave Macmillan, 2014, Xvi + 271 Pp., 3 B&W Illus., $110.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (1):97-99.
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  10. added 2016-02-12
    Michel‐Antoine Xhignesse (2016). Andina, Tiziana. The Philosophy of Art: The Question of Definition—From Hegel to Post‐Dantian Theories, Trans. Natalia Iacobelli, New York: Bloomsbury, 2013, 190 Pp., 5 B&W Illus., $37.95 Paperback, $120.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (1):106-108.
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  11. added 2016-02-12
    Gerad Gentry (2016). Ginsborg, Hannah. The Normativity of Nature. Oxford University Press, 2015, 364 Pp., $40.00 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 74 (1):115-117.
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  12. added 2016-02-12
    Sue Spaid (2016). Revisiting Ventzislavov's Thesis: “Curating Should Be Understood as a Fine Art”. Journal of Aesthetics and Art Criticism 74 (1):87-91.
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  13. added 2016-02-12
    Lydia Amir (2016). Carroll, Noël. Humour: A Very Short Introduction. Oxford University Press, 2014, 126 Pp., $11.95 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 74 (1):99-101.
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  14. added 2016-02-12
    Justin London (2016). Roholt, Tiger C. Groove: A Phenomenology of Rhythmic Nuance. New York: Bloomsbury Academic, 2014, Ix + 175 Pp., $29.95 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 74 (1):101-104.
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  15. added 2016-02-12
    Nicholas Diehl (2016). Socratic Film. Journal of Aesthetics and Art Criticism 74 (1):23-34.
    This article is about a relationship between the Socratic practice of philosophy and the aesthetic practice of watching and appreciating film. The conclusion that I defend is that certain narrative films, like the elenctic method in the hands of Socrates, are philosophical tools for examining our cognitive and emotional life and thus for gaining insight into aspects of our character. In the early sections of the article I construct an analogy between the practice of watching narrative film and the practice (...)
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  16. added 2016-02-09
    Paul Crowther (2009). Phenomenology of the Visual Arts. Stanford University Press.
    Why are the visual arts so important and what is it that makes their forms significant? Countering recent interpretations of meaning that understand visual artworks on the model of literary texts, Crowther formulates a theory of the visual arts based on what their creation achieves both cognitively and aesthetically. He develops a phenomenology that emphasizes how visual art gives unique aesthetic expression to factors that are basic to perception. At the same time, he shows how various artistic media embody these (...)
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  17. added 2016-02-08
    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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  18. added 2016-02-08
    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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  19. added 2016-02-08
    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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  20. added 2016-02-07
    Shen-yi Liao, Louise McNally & Aaron Meskin (forthcoming). Aesthetic Adjectives Lack Uniform Behavior. Inquiry.
    The goal of this short paper is to show that aesthetic adjectives---exemplified by “beautiful” and “elegant”---do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  21. added 2016-02-07
    Shen-yi Liao, Louise McNally & Aaron Meskin (forthcoming). Aesthetic Adjectives Lack Uniform Behavior. Inquiry.
    The goal of this short paper is to show that aesthetic adjectives---exemplified by “beautiful” and “elegant”---do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  22. added 2016-02-07
    Shen-yi Liao, Louise McNally & Aaron Meskin (forthcoming). Aesthetic Adjectives Lack Uniform Behavior. Inquiry.
    The goal of this short paper is to show that aesthetic adjectives---exemplified by “beautiful” and “elegant”---do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  23. added 2016-02-07
    Shen-yi Liao, Louise McNally & Aaron Meskin (forthcoming). Aesthetic Adjectives Lack Uniform Behavior. Inquiry.
    The goal of this short paper is to show that aesthetic adjectives---exemplified by “beautiful” and “elegant”---do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  24. added 2016-02-07
    Shen-yi Liao, Louise McNally & Aaron Meskin (forthcoming). Aesthetic Adjectives Lack Uniform Behavior. Inquiry.
    The goal of this short paper is to show that aesthetic adjectives---exemplified by “beautiful” and “elegant”---do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  25. added 2016-02-07
    Shen-yi Liao, Louise McNally & Aaron Meskin (forthcoming). Aesthetic Adjectives Lack Uniform Behavior. Inquiry.
    The goal of this short paper is to show that aesthetic adjectives---exemplified by “beautiful” and “elegant”---do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  26. added 2016-02-05
    Warren Heiti (2015). Introduction: What Is Lyric Philosophy? Philosophy and Literature 39 (1):188-201.
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  27. added 2016-02-05
    Tanis MacDonald (2015). “What Is Not Self”: Jan Zwicky, Simone Weil, and the Resonance of Decreation. Philosophy and Literature 39 (1):211-218.
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  28. added 2016-02-05
    Sue Sinclair (2015). Lyric, Time, Beauty. Philosophy and Literature 39 (1):202-210.
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  29. added 2016-02-05
    Sean Steel (2015). The Birth of Dionysian Education ? Part Two. Philosophy of Music Education Review 23 (1):67.
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  30. added 2016-02-05
    William Franke (2015). Acknowledging Unknowing: Stanley Cavell and the Philosophical Criticism of Literature. Philosophy and Literature 39 (1):248-258.
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  31. added 2016-02-05
    Lauren Kapalka Richerme (2015). Who Are Musickers? Philosophy of Music Education Review 23 (1):82.
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  32. added 2016-02-05
    David Wemyss (2015). The Weighing of Our Words. Philosophy and Literature 39 (1):233-242.
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  33. added 2016-02-05
    Alexandra Kertz-Welzel (2015). Lessons From Elsewhere? Comparative Music Education in Times of Globalization. Philosophy of Music Education Review 23 (1):48.
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  34. added 2016-02-05
    Bennett Reimer (2015). Response to Randall Allsup, “Music Teacher Quality and Expertise”. Philosophy of Music Education Review 23 (1):108.
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  35. added 2016-02-05
    Anthony Squiers (2015). A Critical Response to Heidi M. Silcox’s “What’s Wrong with Alienation?”. Philosophy and Literature 39 (1):243-247.
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  36. added 2016-02-05
    Mark Whale (2015). How Universal is Beethoven? Music, Culture, and Democracy. Philosophy of Music Education Review 23 (1):25.
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  37. added 2016-02-05
    Lucy Alford (2015). We Know It in Our Bones: Reading a Thirty-Five-Acre Plot in Rural Virginia with Three Poems by Charles Wright. Philosophy and Literature 39 (1):219-232.
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  38. added 2016-02-05
    Randall Everett Allsup (2015). Music Teacher Quality and the Problem of Routine Expertise. Philosophy of Music Education Review 23 (1):5.
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  39. added 2016-02-05
    Theodore Ziolkowski (2015). Philosophers Into Fiction. Philosophy and Literature 39 (1):271-284.
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  40. added 2016-02-05
    Nancy L. Easterlin (2015). How Literature Plays with the Brain: The Neuroscience of Reading and Art by Paul B. Armstrong. Philosophy and Literature 39 (1):267-270.
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  41. added 2016-02-05
    Janelle Pötzsch (2015). Kantian Ethics in Gulliver’s Travels: Are the Houyhnhnms Role Models? Philosophy and Literature 39 (1):259-266.
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  42. added 2016-02-05
    Leonard Tan (2015). Response to Alexandra Kertz-Welzel's “Two Souls, Alas, Reside Within My Breast”: Reflections on German and American Music Education Regarding the Internationalization of Music Education. Philosophy of Music Education Review 23 (1):113.
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  43. added 2016-02-05
    Emma Bennett (2014). The Danger and the Saving Power of Thomas Demand. Philosophy of Photography 5 (2):101-118.
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  44. added 2016-02-05
    Pat Naldi (2014). Dog Portraits by Shari Hatt. Philosophy of Photography 5 (2):89-92.
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  45. added 2016-02-05
    Shari Hatt (2014). Dog Portraits. Philosophy of Photography 5 (2):158-159.
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  46. added 2016-02-05
    Susan Trangmar (2014). Wandering Shards. Philosophy of Photography 5 (2):146-157.
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  47. added 2016-02-05
    Koray Deg˘Irmenci (2014). Depth of Field. Philosophy of Photography 5 (2):123-129.
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  48. added 2016-02-05
    Charles Heller & Lorenzo Pezzani (2014). 'All They Did Was Taking Pictures': Photography and the Violence of Borders. Philosophy of Photography 5 (2):93-97.
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  49. added 2016-02-05
    Jonathan Fardy (2014). Of Civil and Social Contracts: Azoulay After Hobbes. Philosophy of Photography 5 (2):133-143.
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  50. added 2016-02-05
    Yanai Toister (2014). Why Be a Photographic Image? Philosophy of Photography 5 (2):161-167.
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1 — 50 / 553