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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2016-09-24
    Isidora Stojanovic (forthcoming). Expressing Aesthetic Judgments in Context1. Inquiry:1-23.
    Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.
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  2. added 2016-09-24
    J. Clerk Shaw (2016). Poetry and Hedonic Error in Plato's Republic. Phronesis 61:373-396.
    This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the ‘paradox (...)
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  3. added 2016-09-23
    George Wilson & Sam Shpall (2011). Unraveling the Twists of Fight Club. In Thomas Wartenburg (ed.), Fight Club: Philosophers on Film. Routledge
    Analyzes cinematic conventions of transparency, and offers an interpretation of Fight Club.
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  4. added 2016-09-21
    Ferdinand Fellmann (2016). Zwischen Phänomen und Konstrukt. Zur Ästhetik der Gegenwartskunst. In H. Paflik-Huber (ed.), Let's Mix All Media Together. Hatje Cantz 300-311.
    Die Kunstwissenschaft zeichnet sich in den letzten Jahrzehnten dadurch aus, dass sie analog zur Entwicklung in der Kunst keine übergreifende Stilbildung mehr betreibt. In der vorliegenden Publikation nähern sich nun international anerkannte Kunstwissenschaftler, Philosophen und Medienwissenschaftler dem Begriff »Bild« – sowohl durch klassische Bildanalysen und ästhetische Fragestellungen als auch durch Versuche, einen neuen wissenschaftlichen Begriff für Kunst zu finden. Die Autoren, darunter Felix Ensslin, Frieder Nake, Jean-Baptiste Joly, Ute Meta Bauer, Katharina Sykora und Beat Wyss, erörtern, wie wir Bilder lesen (...)
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  5. added 2016-09-21
    Luke Kersten (2015). Music and Cognitive Extension. Empirical Musicology Review:193-202.
    Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between the auditory (...)
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  6. added 2016-09-21
    Luke Kersten (2015). Music and Cognitive Extension. Empirical Musicology Review:193-202.
    Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between the auditory (...)
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  7. added 2016-09-21
    Luke Kersten (2015). Music and Cognitive Extension. Empirical Musicology Review:193-202.
    Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between the auditory (...)
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  8. added 2016-09-20
    Justin Neville Kaushall (2016). HAMMER, ESPEN. Adorno's Modernism: Art, Experience, and Catastrophe. Cambridge University Press, 2015, 242 Pp., $99.99 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (3):316-318.
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  9. added 2016-09-19
    Matthew J. Brown (2016). Love Slaves and Wonder Women: Radical Feminism and Social Reform in the Psychology of William Moulton Marston. Feminist Philosophy Quarterly 2 (1):1.
    In contemporary histories of psychology, William Moulton Marston is remembered for helping develop the lie detector test. He is better remembered in the history of popular culture for creating the comic book superhero Wonder Woman. In his time, however, he contributed to psychological research in deception, basic emotions, abnormal psychology, sexuality, and consciousness. He was also a radical feminist with connections to women's rights movements. Marston's work is an instructive case for philosophers of science on the relation between science and (...)
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  10. added 2016-09-17
    Rafael De Clercq (forthcoming). Resemblance and Representation: An Essay in the Philosophy of Pictures. British Journal of Aesthetics:ayv040.
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  11. added 2016-09-17
    Eran Guter (forthcoming). Wittgenstein on Musical Depth and Our Knowledge of Humankind. In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Palgrave Macmillan
  12. added 2016-09-17
    Justin Neville Kaushall (forthcoming). Red Kant: Aesthetics, Marxism, and the Third Critique. British Journal of Aesthetics:ayv038.
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  13. added 2016-09-15
    Karen Simecek (forthcoming). The Philosophy of Poetry. [REVIEW] British Journal of Aesthetics:ayv039.
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  14. added 2016-09-12
    Nathan Wildman & Christian Folde (forthcoming). Fiction Unlimited. Journal of Aesthetics and Art Criticism.
    Here, we offer an original argument for the existence of universal fictions, within which every possible proposition is fictionally true. Specifically, we detail a trio of such fictions, along with an easy-to-follow recipe for generating more. Then, after exploring some of the consequences that follow from this result and dismissing several objections, we conclude that fiction, unlike reality, is unlimited when it comes to truth.
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  15. added 2016-09-12
    Scot Clifton (2016). A Notorious Example of Failed Mindreading: Dramatic Irony and the Moral and Epistemic Value of Art. Journal of Aesthetic Education 50 (3):73-90.
    Moral education can occur in several ways. In philosophy, the preferred way appears to be in the construction and defense of normative ethical theories, where answers are proffered to the following question: what ethical theory should we adopt in order to live a morally worthwhile life? Some moral philosophers have conceived of a different dimension to moral education, however. Martha Nussbaum, for example, writes, “Moral knowledge... is not simply intellectual grasp of propositions; it is not even simply intellectual grasp of (...)
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  16. added 2016-09-12
    Guillermo Marini (2016). "Fulfillment," "Disturbance": Contrasting Purposes of the Arts in Education. Journal of Aesthetic Education 50 (3):91-100.
    In memoriam of Elliot Eisner, I wish to commend his book Educating Artistic Vision for advancing a distinction between contextual and essential arguments that has become classical to justify the purposes of the arts in education.1 Contextual arguments typically focus on transferring artistic qualities to nonartistic school areas and aim at achieving extrinsic outcomes such as higher academic results, a better school climate, improved cognitive development, and the like. Essential arguments are those that deal with intrinsic artistic qualities like the (...)
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  17. added 2016-09-12
    Rhett Diessner, Lana Schuerman, Amy Smith, Kelsey Marker, Alex Wilson & Katherine Wilson (2016). Cognitive-Developmental Education Based on Stages of Understanding Experiences of Beauty. Journal of Aesthetic Education 50 (3):27-52.
    Arthur Danto has written:I came to view that in writing about beauty as a philosopher, I was addressing the deepest kind of issue there is. Beauty is but one of an immense range of aesthetic qualities, and philosophical aesthetics has been paralyzed by focusing as narrowly on beauty as it has. But beauty is the only one of the aesthetic qualities that is also a virtue, like truth and goodness. It is not simply among the values we live by, but (...)
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  18. added 2016-09-12
    Matthew DeCoursey (2016). The Aesthetic as Intrinsic Motivation: The Heart of Drama for Language Education. Journal of Aesthetic Education 50 (3):13-26.
    Writings on drama education are strewn with assertions that the aesthetic must be central to drama education, even where drama is used as a means of teaching nonaesthetic material.1 Indeed, it is impossible to understand what drama is without one definition or another of the aesthetic. If students read dialogues out loud without concern for expression or for the literary qualities of the dialogue, then they are not doing drama. If students are obliged to invent sentences but with no concern (...)
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  19. added 2016-09-12
    Jan Jagodzinski (2016). A Response To: "Deconstructing Deleuze and Guattari's A Thousand Plateaus for Music Education". Journal of Aesthetic Education 50 (3):101-121.
    One would have to be too “simple” to believe that thought is a simple act, clear unto itself, and not putting into play all the powers of the unconscious, or all the powers of nonsense in the unconscious.1As someone who has taken out the time to study Deleuze|Guattari’s oeuvre,2 rather than targeting just one book, A Thousand Plateaus in such a superficial way, reading Estelle Jorgensen and Iris M. Yob’s “deconstruction” of this particular work has been a very painful experience, (...)
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  20. added 2016-09-12
    Claire Pennock & Dennis Packard (2016). Hermeneutical Poetics: A Philosophical Grounding for Consistent Performances. Journal of Aesthetic Education 50 (3):53-72.
    Performance theorists have identified a central problem in live artistic performances— sometimes a performance is transcendently good, but more often it is not. Even the best performers give uneven performances over time, and educators are frequently at a loss as to what teaching methods will counteract this phenomenon. So how can we provide a useful approach for educators to reduce inconsistency, without sacrificing quality, in the performing arts? This is the question that we hope to address in this paper, by (...)
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  21. added 2016-09-12
    Richard Hickman (2016). Reflections on Art Making and Evolutionary Psychology. Journal of Aesthetic Education 50 (3):1-12.
    This paper is written in the hope of exciting debate in a contested arena and also to provide additional support for arts education advocates. I outline a case for suggesting that everyone, that is, all human beings, has an innate capacity and desire for making and appreciating “art” and that denial of this capacity can lead not only to an unfulfilled life but an unhealthy one. However, because of art’s conceptual slipperiness and the fact that it is so dependent upon (...)
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  22. added 2016-09-12
    Gordon Graham (2007). The Re-Enchantment of the World: Art Verses Religion. Oxford University Press Uk.
    The Re-enchantment of the World is a philosophical exploration of the role of art and religion as sources of meaning in an increasingly material world dominated by science. Gordon Graham takes as his starting point Max Weber's idea that contemporary Western culture is marked by a 'disenchantment of the world' -- the loss of spiritual value in the wake of religion's decline and the triumph of the physical and biological sciences. Relating themes in Hegel, Nietzsche, Schleiermacher, Schopenhauer, and Gadamer to (...)
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  23. added 2016-09-09
    Jake Quilty-Dunn (2016). Iconicity and the Format of Perception. Journal of Consciousness Studies 23 (3-4):255-263.
    According to one important proposal, the difference between perception and cognition consists in the representational formats used in the two systems (Carey, 2009; Burge, 2010; Block, 2014). In particular, it is claimed that perceptual representations are iconic, or image-like, while cognitive representations are discursive, or language-like. Taking object perception as a test case, this paper argues on empirical grounds that it requires discursive label-like representations. These representations segment the perceptual field, continuously pick out objects despite changes in their features, and (...)
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  24. added 2016-09-05
    Italo Testa (2015). Why is the Amphibian Status of the Human Unavoidable? Some Remarks on Robert Pippin's "After the Beautiful". Lebenswelt 7:21-27.
  25. added 2016-09-05
    Raymond Aaron Younis (1999). Hollywood, Vietnam and the National Imaginary: ‘Three Seasons'. Asian Studies Association of Australia E-Journal (September).
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  26. added 2016-09-05
    Raymond Aaron Younis (1995). Isabelle Eberhardt. In Scott Murray (ed.), Australian film 1978-1994. Oxford University Press
  27. added 2016-09-05
    Raymond Aaron Younis (1995). Rolf de Heer, Dingo. In Scott Murray (ed.), Australian film 1978-1994. Oxford University Press
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  28. added 2016-09-05
    Raymond Aaron Younis (1993). Jane Campion's The Piano. Cinema Papers 95 (October):50-52.
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  29. added 2016-09-02
    Ema Sullivan-Bissett, Helen Bradley & Paul Noordhof (eds.) (forthcoming). Art and Belief. Oxford University Press.
  30. added 2016-09-02
    Bradley Richards (forthcoming). Cognitive Penetrability, Context, and Aesthetics: Nanay and Danto on the Gallery of Indiscernibles. Philosophical Psychology:1-12.
    Nanay has recently argued, on the basis of the cognitive penetrability of experience, that the attribution of aesthetically relevant properties supervenes on perceptual experience. I argue that this claim is false as stated and cannot be salvaged. I provide a series of thought experiments as counterexamples, showing that the title of an artwork can influence its ARPs, its meaning or value, and the accurate attributions of ARPs while the character of the perceptual experience of the piece remains constant. I introduce (...)
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  31. added 2016-09-02
    James Harold (2011). Literature, Genre Fiction, and Standards of Criticism. Nonsite.Org 1 (4).
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  32. added 2016-09-01
    Subhasis Chattopadhyay (2016). Vedanta and Cosmopolitanism in Contemporary Indian Poetry. Prabuddha Bharata or Awakened India 121 (September):648-55.
    Bashabi Fraser is known the world over as a Scottish-Bengali aka diasporic writer. Further she has also been slotted as a feminist scholar with a huge corpus on Tagore. This essay proves the fallacy of such pigeon-holeing of Fraser and shows that she is as mainstream as Yeats and even before that, like unto Blake. The essay also makes a point for rejecting every other mode of poetry except the Romantic mode. It established the Vedantic nature of the poetic genius. (...)
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  33. added 2016-09-01
    Subhasis Chattopadhyay (2016). Review of The Soul of the World. [REVIEW] Prabuddha Bharata or Awakened India 121 (September):672-3.
    Roger Scruton is dismissed by those who do not care to study him as a conservative philosopher. This review shows how Scruton is in fact more a theologian than a philosopher. This review is contrarian in tone to the reviews of Scruton to be found online and restores him as the rightful heir to theologians like Barth, Bultmann etc.
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  34. added 2016-09-01
    Subhasis Chattopadhyay (2016). Review of Bengal Partition Stories: An Unclosed Chapter. [REVIEW] Prabuddha Bharata or Awakened India 121 (September):670-2.
    This is a review of Bashabi Fraser's edited volume on the partition of Bengal. The review highlights our need to read the partition event as a warning for future and ongoing genocides. The review also shows the superiority of literature over history. And finally it has something to say about translation and separately, on P Lal.
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  35. added 2016-09-01
    James Harold (2015). Literary Cognitivism. In Noel Carroll & John Gibson (eds.), Routledge Companion to Philosophy of Literature. Routledge
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  36. added 2016-08-31
    Lauren R. Alpert (2016). Review Of: "Strange Tools: Art and Human Nature" by Alva Noe. [REVIEW] Asage 8 (1):1-3.
    Strange Tools foregoes stolid conventions of professional philosophy, laudably broadening the book’s appeal to accommodate a popular audience. However, Noë’s manner of glossing over complex issues about art does not necessarily render these topics intelligible to philosophical novices. Instead, his oversimplifications will tend to confirm naïve notions that art is straightforward – a common misconception that a foray into philosophy of art ought to dispel, not corroborate.
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  37. added 2016-08-30
    Matthew Crippen (forthcoming). Intuitive Cities: Pre-Reflective, Aesthetic and Political Aspects of Urban Design. Journal of Aesthetics and Phenomenology.
    Evidence affirms that aesthetic engagement patterns our movements, often with us barely aware. This invites an examination of pre-reflective engagement within cities and also aesthetic experience as a form of the pre-reflective. The invitation is amplified because design has political implications. For instance, it can draw people in or exclude them by establishing implicitly recognized public-private boundaries. The Value Sensitive Design school, which holds that artifacts embody ethical and political values, stresses some of this. But while emphasizing that design embodies (...)
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  38. added 2016-08-30
    Matthew Crippen (forthcoming). Dewey on Arts, Sciences and Greek Philosophy. In András Benedek & Agnes Veszelszki (eds.), Visual Learning: Time - Truth - Tradition. Peter Lang
  39. added 2016-08-30
    Matthew Crippen (2014). Body Phenomenology, Somaesthetics and Nietzschean Themes in Medieval Art. Pragmatism Today 5:40-45.
    Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores Life (...)
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  40. added 2016-08-26
    John McAteer (2016). Silencing Theodicy with Enthusiasm: Aesthetic Experience as a Response to the Problem of Evil in Shaftesbury, Annie Dillard, and the Book of Job. Heythrop Journal 57 (5):788-795.
    The problem of evil is not only a logical problem about God's goodness but also an existential problem about the sense of God's presence, which the Biblical book of Job conceives as a problem of aesthetic experience. Thus, just as theism can be grounded in religious experience, atheism can be grounded in experience of evil. This phenomenon is illustrated by two contrasting literary descriptions of aesthetic experience by Jean-Paul Sartre and Annie Dillard. I illuminate both of these literary texts with (...)
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  41. added 2016-08-26
    David Vessey (2006). Paul Fairfield. Theorizing Praxis: Studies in Hermeneutical Pragmatism. New York: Peter Lang, 2000. Pp. 184. Cloth ISBN 0-8204-4997-0. [REVIEW] Contemporary Pragmatism 3 (2):171-175.
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  42. added 2016-08-24
    Allen Alain Viguier (2015). Just What is It That Makes the Same so Different? The Object After Post-Object Art. Hotel des Bains Editions..
    In the book’s two texts concepts of art "return" from the past, mostly from the founding narrative of contemporary art, but they are not taking us back to the past. The past that is recovered in our present is a measure of the distance that separates us from it. The texts' central proposition operates through the bracketing of objects. By suspending its own internality an object allows itself to be examined through its external relations in the material context of art (...)
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  43. added 2016-08-22
    Piotr Kozak (2016). Sztuka i myśl. Wydawnictwo Fundacji Na Rzecz Myślenia Im. Barbary Skargi.
    W pracy Sztuka i myśl staram się argumentować, że sztuka jest formą myślenia. Rozumiem przez to, po pierwsze, że możemy o sztuce myśleć jako o pewnej klasie operacji pojęciowych, gdzie operacje pojęciowe należy interpretować jako bezpośrednie rozpoznawania poprawności realizacji danej dyspozycji poznawczej lub praktycznej. Po drugie, argumentuję, że sztukę możemy rozumieć jako pewien sposób widzenia i myślenia. Twierdzę, że sztuka ukazuje to, w jaki sposób możemy widzieć i myśleć o danych przedstawieniach, mówiąc ściślej, sztuka wyznacza reguły i pojęcia, za pomocą (...)
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  44. added 2016-08-20
    Alex Neill & Aaron Ridley (2016). Still an Error: Relational Theories of Art. British Journal of Aesthetics 56 (2):187-189.
    Aaron Meskin and Simon Fokt have recently taken issue with our 2012 paper, ‘Relational Theories of Art: the History of an Error’. Here we respond to their objections.
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  45. added 2016-08-20
    Katherine Tullmann (2016). Sympathy and Fascination. British Journal of Aesthetics 56 (2):115-129.
    Why do we form strong emotional attachments to unlikeable and immoral characters during our engagements with fictions? These pro-attitudes persist even as we realize that we would loathe these people if we were to encounter them in real-life. In this paper, I explore the implications of the sympathy for the devil phenomenon. I begin by considering several popular explanations, including simulation, aesthetic distancing, pre-focusing, and the ‘best of all characters’. I conclude that each one is inadequate. I then propose my (...)
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  46. added 2016-08-20
    Matthew Crippen (2016). Screen Performers Playing Themselves. British Journal of Aesthetics 56 (2):163-177.
    Whereas recent commentators have suggested that consumer demand, typecasting and marketing lead performers to maintain continuities across films, I argue that cinema has historically made it difficult to subtract performers from roles, leading to relatively constant comportment, and that casting, marketing and audience preference are not only causes but also effects of this. I do so using thought experiments and empirical experiments, for example, by pondering why people say they see Jesus in paintings of him and rarely mention models, but (...)
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  47. added 2016-08-19
    John Gibson & Wolfgang Huemer (eds.) (2008). 文人维特根斯坦.
    Translation of _The Literary Wittgenstein_ (ed. by John Gibson and Wolfgang Huemer, London: Routledge, 2004). Simplified Chinese. ISBN 978-7-80762-896-5.
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  48. added 2016-08-17
    Michael Bell (2016). Creativity and Pedagogy in Leavis. Philosophy and Literature 40 (1):171-188.
    I never heard or met F. R. Leavis personally, but like many others I have felt the impact of his writing as teaching and would like to reflect on its nature in that regard. His published criticism is strongly inflected toward the purposes of teaching. His notorious exclusions, for example, of authors he knew very well are partly directed to the practical consideration of how much a conscientious student can read attentively in a three-year degree syllabus, and what reading in (...)
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  49. added 2016-08-17
    St Hope Earl McKenzie (2016). Sculpting Ideas: Can Philosophy Be an Art Form? Philosophy and Literature 40 (1):34-43.
    The question of the possibility of philosophy being an art form concludes Robert Nozick’s Philosophical Explanations.1 He seems to be of the view that an affirmative answer would augur well for further inquiry into the kinds of core philosophical questions, those that “make us tremble,” he writes, which he has just examined: the identity of the self; why is there something rather than nothing; knowledge and skepticism; free will; the foundation of ethics; and the meaning of life.2 These explorations aim (...)
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  50. added 2016-08-17
    Elizabeth Purcell (2016). The Crisis of Subjectivity: The Significance of Darstellung and Freedom in E. T. A. Hoffmann's "The Sandman". Philosophy and Literature 40 (1):44-58.
    In the latter part of the eigthteenth century, philosophers faced a problem with respect to moral freedom. They were concerned not only with an account of how one could be free in the Newtonian system of nature but also with how it might be possible to represent that freedom. The imagination provided an answer. The imagination, thought to have limitless potential through aesthetic experiences and judgments, provided the bridge between our abstract, intellectual understanding of the world and the conditions of (...)
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