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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2015-02-01
    Bence Nanay (2014). Cognitive Penetration and the Gallery of Indiscernibles. Frontiers in Psychology 5:1527.
    Arthur Danto’s gallery of indiscernibles thought experiment is supposed to show that the attribution of some aesthetically relevant properties does not supervene on anything perceptual. I argue that this argument rests on false assumptions about the nature of perception: namely, that perception is cognitively impenetrable. If perception is cognitively penetrable, and we have plenty of evidence that it is, Danto’s argument fails to go through.
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  2. added 2015-02-01
    Andrew Fisher (2010). Time, Again, Now. [REVIEW] Philosophy of Photography 1 (2):225-240.
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  3. added 2015-02-01
    Daniel Putman (2005). Natural and Empty Desires: An Epicurean View of Musical Experience. Contemporary Aesthetics 3.
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  4. added 2015-01-28
    Catharine Abell (2015). Printmaking as an Art. Journal of Aesthetics and Art Criticism 73 (1):23-30.
    Many forms of printmaking involve drawing or painting onto a plate to produce a matrix and then producing prints from that matrix by mechanical processes. One might be skeptical about the artistic significance of such prints, on the basis that only the process of drawing or painting the matrix enables printmakers to exercise intentional control over the features of the resultant prints. This might lead one to think that such forms of printmaking lack artistic significance independent of drawing and painting. (...)
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  5. added 2015-01-28
    Robert Hopkins (2015). Reproductive Prints as Aesthetic Surrogates. Journal of Aesthetics and Art Criticism 73 (1):11-21.
    Reproductive prints allow us to engage with the aesthetic/artistic character of the pictures that are their sources. But prints clearly differ from their sources in various striking ways. How, then, are they able to make engagement possible? I consider various answers. Most treat prints as acting as surrogates for the source: in sharing its aesthetic properties, in resembling it in overall aesthetic character, in being aesthetically transparent to it, or in allowing us to imagine its aesthetic character in sufficiently rich (...)
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  6. added 2015-01-28
    David Davies (2015). Varying Impressions. Journal of Aesthetics and Art Criticism 73 (1):81-92.
    My aim in this article is to locate various forms of printmaking in a broader framework for thinking about so-called ‘multiple’ artworks, artworks that, as this is normally put, admit of multiple instances. I first sketch a general framework for the philosophical exploration of multiple artworks and the philosophical issues to which they give rise. I then address certain forms of printmaking that might be thought to generate singular rather than multiple artworks. Next, I look at how those print works (...)
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  7. added 2015-01-28
    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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  8. added 2015-01-28
    Peg Zeglin Brand (2015). The Role of Luck in Originality and Creativity. Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...)
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  9. added 2015-01-28
    Christy Mag Uidhir (2015). Introduction. Journal of Aesthetics and Art Criticism 73 (1):1-8.
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  10. added 2015-01-28
    Jere Williams (2015). A Beautiful Manhole Cover Thumbtacked to the Bulletin Board on Goodman's Door. Journal of Aesthetics and Art Criticism 73 (1):9-9.
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  11. added 2015-01-28
    K. E. Gover (2015). Are All Multiples the Same? The Problematic Nature of the Limited Edition. Journal of Aesthetics and Art Criticism 73 (1):69-80.
    The aim of this inquiry is to determine whether printmaking is best understood ontologically as analogous to a work-performance relation. Are prints the visual analogue of symphonies? My motivation for pursuing the comparison of printmaking to music is twofold. First, because relatively little has been written on the ontology of fine art prints, our use of an already developed body of scholarship will help us to gain some traction on the question. Second, within the existing literature on the ontology of (...)
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  12. added 2015-01-28
    Roy T. Cook & Aaron Meskin (2015). Comics, Prints, and Multiplicity. Journal of Aesthetics and Art Criticism 73 (1):57-67.
    Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...)
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  13. added 2015-01-24
    Laura D'Olimpio (2014). Thoughts on Film: Critically Engaging with Both Adorno and Benjamin. Educational Philosophy and Theory 48.
    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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  14. added 2015-01-20
    Jens E. Kjeldsen (forthcoming). The Rhetoric of Thick Representation: How Pictures Render the Importance and Strength of an Argument Salient. Argumentation:1-19.
    Some forms of argumentation are best performed through words. However, there are also some forms of argumentation that may be best presented visually. Thus, this paper examines the virtues of visual argumentation. What makes visual argumentation distinct from verbal argumentation? What aspects of visual argumentation may be considered especially beneficial?
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  15. added 2015-01-20
    Steven W. Patterson (2011). A Picture Held Us Captive: The Later Wittgenstein and Visual Argumentation. Cogency 2 (2):105-134.
    The issue of whether or not there are visual arguments has been an issue in informal logic and argumentation theory at least since 1996. In recent years, books, sections of prominent conferences and special journals issues have been devoted to it, thus significantly raising the profile of the debate. In this paper I will attempt to show how the views of the later Wittgenstein, particularly his views on images and the no- tion of “picturing”, can be brought to bear on (...)
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  16. added 2015-01-16
    Helen Bradley (2014). Reducing the Space of Seeing-In. British Journal of Aesthetics 54 (4):409-424.
    Dominic Lopes proposes that seeing-in admits of kinds. He thus suggests five ways of seeing-in that he feels do justice to the variety of pictorial representations. More recently Dan Cavedon-Taylor has argued that the space of seeing-in marked out by Lopes is incomplete, and thus proposes a sixth kind of seeing-in that fits neatly into the taxonomy. I argue that the phenomenon of seeing-in does not divide in as many ways as Lopes and Cavedon-Taylor propose. I show that the purported (...)
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  17. added 2015-01-15
    Martina Sauer (2015). Emmanuel Alloa (Hg.): Erscheinung und Ereignis. Zur Zeitlichkeit des Bildes, München 2013. [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 15 (1).
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  18. added 2015-01-12
    Cristian Timmermann & Georges F. Félix (forthcoming). Agroecology as a Vehicle for Contributive Justice. Agriculture and Human Values.
    Agroecology has been criticized for being more labor-intensive than other more industrialized forms of agriculture. We challenge the assertion that labor input in agriculture has to be generally minimized and argue that besides quantity of work one should also consider the quality of work involved in farming. Early assessments on work quality condemned the deskilling of the rural workforce, whereas later criticisms have concentrated around issues related to fair trade and food sovereignty. We bring into the discussion the concept of (...)
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  19. added 2015-01-12
    Tobias Keiling (2014). Erklüftung. Heideggers Entwurfsdenken in den Beiträgen zur Philosophie. In David Espinet & Toni Hildebrandt (eds.), Suchen, Entwerfen, Stiften. Randgänge zum Entwurfsdenken Martin Heideggers. Wilhelm Fink. 107-124.
    Philosophie ist auch auf Bilder angewiesen, die jedoch nicht selten ihre eigene Logik entfalten - auch gegeneinander. Das gilt nicht weniger, wenn es Bilder sind, die sich im Medium Sprache - und damit im Medium der Philosophie - zeigen. Heideggers philosophische Meisterschaft hat bekanntlich viel damit zu tun, dass er die originären Möglichkeiten der Sprache und Übersetzung wie wenig andere Denker zu nutzen weiß. Dieser Beitrag untersucht das Wort "Erklüftung" als Beispiel eines scheiternden Versuchs, ein philosophisches Bild zu entwerfen.
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  20. added 2015-01-09
    Tobias Keiling, Literarische Gerechtigkeit. IASLonline.
    -/- Die genaue Verbindung von Literatur und Ethik allgemeingültig zu beschreiben, ist eine anspruchsvolle Aufgabe: Die klassischen und gegenwärtigen Diskurse über Ethik berühren sich nur an wenigen Punkten mit der Ästhetik, dann aber — wie etwa in Kants Kritik der Urteilskraft — in emphatischer und für die ethische und die ästhetische Fragestellung in jeweils keineswegs unproblematischer Weise. 1 Sich der Verbindung von Kunst und Ethik über die Grenzen der (praktischen) Vernunft und die Möglichkeit der Darstellung des sittlich Guten zu nähern, (...)
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  21. added 2015-01-09
    Tobias Keiling (2011). Kunst, Werk, Wahrheit. Heideggers Wahrheitstheorie in Der Ursprung des Kunstwerkes. In David Espinet & Tobias Keiling (eds.), Heideggers Ursprung des Kunstwerkes. Ein kooperativer Kommentar. Klostermann. 66-95.
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  22. added 2015-01-08
    Laszlo Kajtar (forthcoming). The Opacity of Narrative. British Journal of Aesthetics:ayu046.
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  23. added 2015-01-08
    Andreas Dorschel (2014). Icons without turn: Über Bilder und Worte. In Wilhelm Vossenkuhl (ed.), Quo vadis Design? 4 Thesen. 17-37.
    Images, or icons, have been made the subject of a ‘turn’. But no new epoch under its sign is looming. The image is just one medium among others. The best we can do is to face what it may and what it may not achieve. Its main competitor is the word – though there is a field of transition between both. Words and numbers surpass the image when one needs to refer to something that cannot be seen – this holds (...)
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  24. added 2015-01-08
    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.
  25. added 2015-01-08
    Rick Anthony Furtak (2007). Translator's Introduction: Rilke and the Poetics of Revelation. In Rainer Maria Rilke & Rick Anthony Furtak (eds.), Rainer Maria Rilke's 'Sonnets to Orpheus': A New English Version, With a Philosophical Introduction. University of Scranton Press. 1-30.
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  26. added 2015-01-07
    Mohan Matthen (2014). How to Explain Pleasure. British Journal of Aesthetics 54 (4):477-481.
    Stephen Davies’ book The Artful Species is a nuanced and learned attempt to show how evolution does, and does not, account for the human capacity to produce and appreciate beautiful things. In this critical note, his approach to aesthetic pleasure is examined. Aesthetic pleasure, it is argued, is a state that encourages us to continue with our perceptual or intellectual engagement with something. Such pleasure displays a different profile from states that urge us to use an object to satisfy a (...)
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  27. added 2015-01-07
    Rafe McGregor (2014). A Critique of the Value Interaction Debate. British Journal of Aesthetics 54 (4):449-466.
    The purpose of this article is to show that the value interaction debate is deeply flawed and constitutes a superficial analysis of the relationship between morality and art. I introduce the debate, which concerns whether a moral defect in a work of art is an aesthetic defect, in Section 1. Section 2 establishes the vagueness of two key terms in the discussion, moral defects and aesthetic defects. In Section 3, I introduce the naive assumption-uninteresting claim disjunction, identifying five of the (...)
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  28. added 2015-01-07
    Alva Noë (2014). Running Up Against Nature’s Limits? British Journal of Aesthetics 54 (4):483-487.
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  29. added 2015-01-07
    Laura Wright (2014). Notes on the Cover Artist. British Journal of Aesthetics 54 (4):515-515.
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  30. added 2015-01-07
    Stephen Davies (2014). Synopsis. British Journal of Aesthetics 54 (4):467-469.
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  31. added 2015-01-07
    Adrian Boutel & Tim Lewens (2014). The Descent of Culture. British Journal of Aesthetics 54 (4):489-492.
    Stephen Davies’ book shows admirable sensitivity to the complexities of aesthetic appreciation, the making of art, and evolutionary explanation. Our critical comments focus on his understanding of how the natural and the cultural are to be distinguished. We suggest that recent work on the evolution of cognition undermines any strict distinction between that which is learned, and therefore within the domain of culture or technology, and that which is part of human nature, and therefore within the domain of evolution. These (...)
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  32. added 2015-01-07
    Jennifer Anna Gosetti-Ferencei (2014). The Mimetic Dimension: Literature Between Neuroscience and Phenomenology. British Journal of Aesthetics 54 (4):425-448.
    When we are most immersed in literary reading, and when that immersion is most significant, we may experience a literary work as constitutive of a ‘world’. With reference to the phenomenological tradition, it can be shown how this world is both a novel creation and serves to disclose, not least by shifting our perspective from, the world of ordinary experience. In this light, it will be shown how the problem of mimesis poses a challenge for recent neuroscientific approaches to literature. (...)
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  33. added 2015-01-07
    Richard Menary (2014). The Aesthetic Niche. British Journal of Aesthetics 54 (4):471-475.
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  34. added 2015-01-07
    Stephen Davies (2014). Replies to My Critics. British Journal of Aesthetics 54 (4):493-498.
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  35. added 2015-01-06
    Daniel Whiting (forthcoming). The Glass is Half Empty: A New Argument for Pessimism About Aesthetic Testimony. British Journal of Aesthetics.
    Call the view that it is possible to acquire aesthetic knowledge via testimony, optimism, and its denial, pessimism. In this paper, I offer a novel argument for pessimism. It works by turning attention away from the basis of the relevant belief, namely, testimony, and toward what that belief in turn provides a basis for, namely, other attitudes. In short, I argue that an aesthetic belief acquired via testimony cannot provide a rational basis for further attitudes, such as admiration, and that (...)
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  36. added 2015-01-06
    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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  37. added 2015-01-02
    Andreas Dorschel (2006). Über Kanonisierung. Musiktheorie 21 (1):6-12.
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  38. added 2014-12-27
    Brendan Shea (2014). You Can't Choose Your Family: Impartial Morality and Personal Obligations in Alias. In Patricia Brace & Robert Arp (eds.), The Philosophy of J.J. Abrams. The University Press of Kentucky. 173-189.
    In this essay, I critically examine the ways in which the characters of Alias attempt to balance their impartial moral obligations (e.g. duties toward humanity) and their personal obligations (e.g. duties toward one's children). I specifically examine three areas of conflict: (1) choices between saving loved ones and maximizing consequences, (2) choices to maintain or sever relationships with characters who are vicious or immoral, and (3) choices to seek or not seek revenge on the behalf of loved ones. I conclude (...)
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  39. added 2014-12-27
    Brendan Shea (2014). Runaway Memes. In Nicolas Michaud & Jessica Watkins (eds.), Jurassic Park and Philosophy: The Truth is Terrifying. Open Court. 29-39.
    Charles Darwin famously argued that that life on earth was not the product of intelligent design, and that it instead had arisen through the entirely natural of process of evolution via natural selection. Darwin’s theory of evolution (together with Mendel’s theory of genetics) now forms the foundation of all the biological sciences. Jurassic Park, however, raises an interesting question: just how does Darwin’s theory apply to lifeforms that are the products of explicit, intelligent design? In this essay, I examine cluster (...)
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  40. added 2014-12-26
    Fiora Salis (forthcoming). The Problem of Satisfaction Conditions and the Dispensability of I-Desires. Erkenntnis.
    The problem of satisfaction conditions arises from the apparent difficulties of explaining the nature of the mental states involved in our emotional responses to tragic fictions. Greg Currie has recently proposed to solve the problem by arguing for the recognition of a class of imaginative counterparts of desires - what he and others call i-desires. In this paper I will articulate and rebut Currie's argument in favour of i-desires and I will put forward a new solution in terms of genuine (...)
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  41. added 2014-12-23
    Mary Edwards (forthcoming). Philosophy and the Novel. British Journal of Aesthetics:ayu039.
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  42. added 2014-12-23
    Andreas Dorschel (2011). Prosa der Aufmerksamkeit. In Jürgen Hosemann (ed.), Die Zeit, das Schweigen und die Toten. Fischer Taschenbuch Verlag. 258-261.
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  43. added 2014-12-22
    Patrick Maynard (forthcoming). Wayfinding: Notes on the ‘Public’ as Interactive. Review of Philosophy and Psychology:1-22.
    “Public” is here treated by its three extensions: most broadly, from the merely extrasomatic, where users of representations are initially distinguished from makers, through ‘published’ or for the general public, to the governmental, official—where the discussion begins, before turning in its second half to the more common, middle meaning. What is public in these ways, “spatial representation”, also has the different meanings of representation of space or representation by spatial means, and there are several kinds of space to be considered. (...)
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  44. added 2014-12-22
    Christopher Bartel (2014). Musical Understandings, by Stephen Davies. Mind 123 (492):1184-1187.
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  45. added 2014-12-22
    Andreas Dorschel (2013). Aesthetics of Conducting: Expression and Gesture. In Jean Paul Olive & Susanne Kogler (eds.), Expression et geste musical. L'Harmattan. 65-73.
    Expression in orchestral music is a matter of conductors rather than orchestras. Why should that be so? The straightforward answer seems to be that expression is bound to the individual self. But, then, does it have to be? Collective expression of, e.g., anger, rage or protest is not at all unusual in the public domain of politics. Our intuition of conductors’ expressive primacy could be salvaged if we were to conceive of orchestras as their instruments. But that will not do. (...)
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  46. added 2014-12-22
    Andreas Dorschel (2012). Offener Brief an Magister Alexander Gottlieb Baumgarten. In Philip Alperson & Andreas Dorschel (eds.), Vollkommenes hält sich fern. Ästhetische Näherungen. Universal Edition. 9-15.
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  47. added 2014-12-22
    Andreas Dorschel (2012). Einführung zu den Schriften [Richard Wagners]. In Laurenz Lütteken (ed.), Wagner Handbuch. Bärenreiter. 110-117.
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  48. added 2014-12-22
    Andreas Dorschel (2012). Der Welt abhanden kommen. Über musikalischen Eskapismus. Merkur 66 (2012):135-142.
    Escape from worldly dealings can be sought on a number of routes – music may open one of them. For its matter, sound, is forever fleeting, and in its realm, before and beyond language, no duties and obligations arise. Yet these features are not, as they seem, rooted in the nature of music; rather, they were shaped thus in the history that art underwent in Europe during the 19th century.
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  49. added 2014-12-22
    Andreas Dorschel (2011). Music and Pain. In Jane Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music. Oxford University Press. 68-79.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...)
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  50. added 2014-12-22
    Andreas Dorschel (2011). Individualism for the Masses: Aesthetic Paradox in Mahler’s Symphonic Thought. In Elisabeth Kappel (ed.), The Total Work of Art: Mahler’s Eighth Symphony in Context. Universal Edition. 46-60.
    In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...)
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