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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2014-12-17
    Andreas Dorschel, Gerhard Eckel & Deniz Peters (eds.) (2013). Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity, 2nd. Ed. Routledge.
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  2. added 2014-12-17
    Andreas Dorschel, Deniz Peters & Gerhard Eckel (eds.) (2012). Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity. Routledge.
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  3. added 2014-12-17
    Andreas Dorschel & Philip Alperson (2012). Vollkommenes hält sich fern. Ästhetische Näherungen. Universal Edition.
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  4. added 2014-12-17
    Andreas Dorschel & Elisabeth Kappel (eds.) (2010). Friedrich von Hausegger, Die Musik als Ausdruck. Universal Edition.
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  5. added 2014-12-17
    Andreas Dorschel & Federico Celestini (2010). Arbeit am Kanon: Ästhetische Studien zur Musik von Haydn bis Webern. Universal Edition.
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  6. added 2014-12-17
    Andreas Dorschel (2010). Über Ausdruck, insbesondere den musikalischen. In Andreas Dorschel & Elisabeth Kappel (eds.), Friedrich von Hausegger, Die Musik als Ausdruck. Universal Edition. 152-177.
    To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. (...)
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  7. added 2014-12-17
    Andreas Dorschel (ed.) (2007). Verwandlungsmusik. Über komponierte Transfigurationen. Universal Edition.
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  8. added 2014-12-17
    Andreas Dorschel (ed.) (2006). Resonanzen. Vom Erinnern in der Musik. Universal Edition.
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  9. added 2014-12-17
    Andreas Dorschel (2005). Tonspuren. Musik im Film: Fallstudien 1994 - 2001. Universal Edition.
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  10. added 2014-12-17
    Andreas Dorschel (ed.) (2004). Dem Ohr voraus. Erwartung und Vorurteil in der Musik. Universal Edition.
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  11. added 2014-12-17
    Andreas Dorschel (2004). Vom Genießen. Reflexionen zu Richard Strauss. In , Gemurmel unterhalb des Rauschens. Theodor W. Adorno und Richard Strauss. Universal Edition. 23-37.
    The work of Richard Strauss has been disparaged as a music designed to be relished (“Genußmusik” was Adorno’s term), lacking any dimension of ‘transcendence’. The notion of ‘relish’ or ‘pleasure’ (“Genuß”), used for characterization rather than disparagement, can disclose crucial aspects of Strauss’s art, though it does not exhaust it. To oppose ‘relish’ or ‘pleasure’ (“Genuß”) to ‘transcendence’, however, either uses hidden theological premises or disregards that ‘relish’ or ‘pleasure’ (“Genuß”), bound to be pervious to its object, does transcend towards (...)
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  12. added 2014-12-17
    Andreas Dorschel (2003). Gestaltung – Zur Ästhetik des Brauchbaren, 2nd ed. Universitätsverlag Winter.
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  13. added 2014-12-17
    Andreas Dorschel (1997). Bilder und Worte. Weimarer Beiträge: Zeitschrift Für Literaturwissenschaft, Ästhetik Und Kulturwissenschaften 43 (1):110-122.
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  14. added 2014-12-17
    Andreas Dorschel (1993). Wilhelm Müllers ‘Die Winterreise’ und die Erlösungsversprechen der Romantik. The German Quarterly 66 (4):467-476.
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  15. added 2014-12-17
    Andreas Dorschel (1991). Stilisierte Simplizität. Heines ‘Ich stand in dunkeln Träumen’ in Schuberts Komposition. Heine-Jahrbuch 30:164-186.
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  16. added 2014-12-17
    Andreas Dorschel (1987). Die Idee der ‘Einswerdung’ in Wagners Tristan. In Heinz-Klaus Metzger & Rainer Riehn (eds.), Richard Wagner, Tristan und Isolde. edition text + kritik. 19-25.
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  17. added 2014-12-16
    Nikil Mukerji (2014). Why Moral Philosophers Should Watch Sci-Fi Movies. In Fiorella Battaglia & Nathalie Weidenfeld (eds.), Roboethics in Film. Pisa University Press. 79-92.
    In this short piece, I explore why we, as moral philosophers, should watch sci-fi movies. Though I do not believe that sci-fi material is ne- cessary for doing good moral philosophy, I give three broad reasons why good sci-fi movies should nevertheless be worth our time. These reasons lie in the fact that they can illustrate moral-philosophical pro- blems, probe into possible solutions and, perhaps most importantly, an- ticipate new issues that may go along with the use of new technologies. (...)
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  18. added 2014-12-15
    Anthony Savile (forthcoming). A History of Modern Aesthetics. British Journal of Aesthetics:ayu053.
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  19. added 2014-12-14
    Andreas Dorschel & Federico Celestini (2012). Objective Music: Traditions of Soundmaking Without Human Expression. In Andreas Dorschel, Deniz Peters & Gerhard Eckel (eds.), Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity. Routledge. 130-139.
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  20. added 2014-12-14
    Andreas Dorschel (2009). Metaphysisch malen: Philosophie und Bild bei Giorgio de Chirico. In , Kunst und Wissen in der Moderne. Böhlau. 123-132.
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  21. added 2014-12-14
    Andreas Dorschel (ed.) (2004). Gemurmel unterhalb des Rauschens. Theodor W. Adorno und Richard Strauss. Universal Edition.
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  22. added 2014-12-14
    Andreas Dorschel (2002). Gestaltung – Zur Ästhetik des Brauchbaren. Universitätsverlag C. Winter.
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  23. added 2014-12-13
    Fiora Salis, Imaginação. Compêndio Em Linha de Problemas de Filosofia Analítica.
    Nesta entrada irei apresentar uma nova taxonomia sistemática das nossas capacidades imaginativas, coerente com os tratamentos convencionais em ciência cognitiva, filosofia da mente e estética. Em particular, irei distinguir entre a imaginação não-proposicional e a imaginação proposicional, o que inclui ainda outras subvariedades, como a imaginação objectual, a imagética, a imaginação experiencial, a suposição, o faz-de-conta e outras.
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  24. added 2014-12-10
    Ian Jarvie (2015). Pornography Stumps Analytic Philosophers of Art. Philosophy of the Social Sciences 45 (1):122-140.
    A book in which analytic philosophers examine the portrayal of sex in art and the possible artistic value of pornography proves a disappointment. Although a transcendental objection to pornographic art is rebutted, the papers employ barren philosophical methods that divert energy away from significant problems and into scholastic quibbles.
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  25. added 2014-12-10
    Eileen John (2014). Meals, Art, and Artistic Value. Estetika: The Central European Journal of Aesthetics 51 (2):254-268.
    The notion of a meal is explored in relation to questions of art status and artistic value. Meals are argued not to be works of art, but to have the capacity for artistic value. These claims are used to respond to Dominic Lopes’s arguments in Beyond Art that demote artistic value in favour of the values that emerge from specific kinds of art. A conception of artistic value that involves ‘taking reflective charge’ of the possibilities for goodness available in an (...)
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  26. added 2014-12-09
    Christoph Baumberger & Georg Brun (2013). Identität, Charakter und Stil von Bauwerken. In , Architekturphilosophie. Grundlagentexte. Mentis. 141-166.
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  27. added 2014-12-07
    Evental Aesthetics (2014). Hijacking. Evental Aesthetics 3 (2):1-61.
    A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.
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  28. added 2014-12-07
    Heather Kettenis (2014). Reading: Quantifying Beauty: Chad Lavin’s Eating Anxiety. Evental Aesthetics 3 (2):32-41.
    Reading is an affective and reflective relationship with a text, whether it is a new, groundbreaking monograph or one of those books that keeps getting pulled off the shelf year after year. Unlike traditional reviews, the pieces in this section may veer off in new directions as critical reading becomes an extended occurrence of thinking, being, and creation. The Book: Eating Anxiety: The Perils of Food Politics. by Chad Lavin. Minneapolis: University of Minnesota Press, 2013.
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  29. added 2014-12-07
    Mandy-Suzanne Wong (2014). Hijacking: Introduction. Evental Aesthetics 3 (2):4-10.
    A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.
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  30. added 2014-12-07
    Prudence Gibson (2014). Hijacking Telepathic Art Experience as a Speculative Aesthetic. Evental Aesthetics 3 (2):42-61.
    “Hijack” has etymological connotations of force. It is intended here as a purposeful turn away from expert authority and from singular authorship, towards a more expanded sphere of multiple experience in art aesthetics. If there is a hijacking force in art, it is the dynamic desire to reclaim the impossible and the unexpected. These qualities are evident in telepathy as a system of transmitted aesthetic information. Isabelle Stengers, who has investigated the role of the charlatan, might urge us to follow (...)
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  31. added 2014-12-07
    Alexander Joy (2014). Collision: Toward an Aesthetic of Hijacking: Cathy Choi’s B1206. Evental Aesthetics 3 (2):11-21.
    This Collision uses an encounter with Cathy Choi’s B1206 , coupled with theories of aesthetic empathy, to articulate how hijacking as an aesthetic concept might work. The aesthetic faculty of empathy conceives of the aesthetic experience as “feeling into” a given work. This concept furnishes a useful framework for thinking about aesthetic hijacking, as “feeling into” something implies the displacement of the work or its viewer. Hijacking, then, could foreground that displacement by emphasizing spatial uncertainty. Furthermore, hijacking could be an (...)
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  32. added 2014-12-04
    David Carr (2014). Four Perspectives on the Value of Literature for Moral and Character Education. Journal of Aesthetic Education 48 (4):1-16.
    We all know that something is eternal. And it ain’t houses and it ain’t names, and it ain’t earth, and it ain’t even the stars . . . everybody knows in their bones that something is eternal, and that something has to do with human beings. All the greatest people ever lived have been telling us that for five thousand years and yet you’d be surprised how people are always losing hold of it. There’s something way down deep that’s eternal (...)
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  33. added 2014-12-04
    Wojciech Małecki (2014). John Dewey and the Artful Life: Pragmatism, Aesthetics, and Morality by Scott R. Stroud. Journal of Aesthetic Education 48 (4):111-115.
    Philosophers have been quite often portrayed as farcical figures who claim to possess knowledge that is salient to all human beings yet are at the same time completely out of touch with this world, and, for that reason, clumsy, naïve, and basically of no use to anyone, including their own miserable selves. This image is not only quite common—it is also as old as philosophy itself. Just recall the familiar passage from Plato’s Theaetetus that has Thales fall into a well (...)
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  34. added 2014-12-04
    Jacqueline Marie Musacchio (2014). Plaster Casts, Peepshows, and a Play: Lorado Taft's Humanized Art History for America's Schoolchildren. Journal of Aesthetic Education 48 (4):17-37.
    I suppose you realize, as I do, how few of our school children have had the privilege of seeing even casts of the masterpieces of ancient art? They never see the sculptures of the Parthenon, the Hermes of Praxiteles, the Victory of Samothrace, the Venus of Melos, the Augustus Caesar, the works of Donatello, the achievements of Michelangelo. The same is true of our university students—thousands of them. They hear endless talk about these things as the recognized treasures of civilization, (...)
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  35. added 2014-12-04
    Suzanne S. Choo (2014). Cultivating a Cosmopolitan Consciousness: Returning to the Moral Grounds of Aesthetic Education. Journal of Aesthetic Education 48 (4):94-110.
    Now I maintain that the beautiful is the symbol of the morally good. What sort of face does radical evil have? What strikes Hannah Arendt, as she sought to profile Adolf Otto Eichmann, is how completely ordinary he appeared in court. She describes him as medium-sized, middle-aged with receding hair, ill-fitting teeth, and nearsighted eyes. Yet this was the man who had meticulously organized the mass deportation of Jews to the extermination camps during the Holocaust. Like his appearance, his personality (...)
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  36. added 2014-12-04
    Charise Hastings (2014). Musical Practicing: A Hermeneutic Model for Integrating Technique and Aesthetics. Journal of Aesthetic Education 48 (4):50-64.
    If you don’t feel it you can’t be taught it. Either you can play Schumann or you can’t. Successful performances of Western classical music exhibit both technical mastery and aesthetic insight. While legacies of music teachers have distilled schools of technique and stylistic performance practices, the aesthetic components of interpretation have not received systematic treatment. This may be due to inherent difficulties with teaching aesthetics: musical meaning is hard to express in words, and even demonstrating for students does not guarantee (...)
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  37. added 2014-12-04
    Stefán Snaevarr (2014). Dylan as a Rortian: Bob Dylan, Richard Rorty, Postmodernism, and Political Skepticism. Journal of Aesthetic Education 48 (4):38-49.
    Being a postmodernist means mixing the high brow and the low brow, cultivating multiple selves, rejecting the idea of personal authenticity, and maintaining that truth and knowledge are somehow human creations and relative to human purposes/different cultures. Further, it consists in incredulity toward the idea of progress and lack of belief in reason, plus taking generally a skeptical stance, not least toward political ideologies.1 Indeed, the arch-postmodernist Jean-François Lyotard famously defined postmodernism as “incredulity towards metanarratives”2 . The pragmatist philosopher Richard (...)
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  38. added 2014-12-04
    Zsofia Zvolenszky (2014). Artifactualism and Authorial Creation. Proceedings of the European Society for Aesthetics.
    Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be exploring (...)
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  39. added 2014-12-04
    Martin Tröndle, Volker Kirchberg & Wolfgang Tschacher (2014). Subtle Differences: Men and Women and Their Art Reception. Journal of Aesthetic Education 48 (4):65-93.
    While presenting this manuscript to art practitioners and art theorists, we noticed that there is great discomfort confronting this topic. Some questions raised were why is such research conducted, what is it good for, and does it impose preconceptions on men and women. Since Bourdieu and Darbel,1 it is widely assumed that sociodemographic factors such as education or profession have an impact on art reception. However, questions of basal sociodemographic factors like sex and age and their influence on art reception (...)
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  40. added 2014-12-02
    Min Xu & Guifang Deng (forthcoming). Against Zangwill’s Extreme Formalism About Inorganic Nature. Philosophia:1-9.
    Extreme formalism is a radical and important position in the aesthetics of inorganic nature. Zangwill offers a new formulation of what formal aesthetic properties are, according to which a formal aesthetic property of a thing is an aesthetic property that is determined merely by its appearance properties. An appearance property of a thing is the way it seems if perceived under certain conditions. With the notion of formal aesthetic properties formulated as such, extreme formalism, the claim that all aesthetic properties (...)
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  41. added 2014-12-01
    Nick Riggle (forthcoming). Personal Style and Artistic Style. Philosophical Quarterly.
    What is it for a person to have style? Philosophers working in action theory, ethics, and aesthetics are surprisingly quiet on this question. I begin by considering whether theories of artistic style shed any light on it. Many philosophers, artists, and art historians are attracted to some version of the view that artistic style is the expression of personality. I clarify this view and argue that it is implausible for both artistic style and, suitably modified, personal style. In fact, both (...)
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  42. added 2014-11-28
    John Marmysz (2014). The Myth of Scotland as Nowhere in Particular. International Journal of Scottish Theatre and Screen 7 (1):28-44.
    In a number of recent films, Scotland has served as the setting for dramas that could have taken place anywhere. This has occurred in two related ways: First, there are films such as Perfect Sense (2011) and Under the Skin (2013). These films involve storylines that, while they do take place in Scotland, do not require the country as a setting. Second, there are films such as Prometheus (2012),The Dark Knight Rises (2012), Cloud Atlas (2012), and World War Z (2013). (...)
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  43. added 2014-11-26
    Valeria Giardino & Gabriel Greenberg (forthcoming). Introduction: Varieties of Iconicity. Review of Philosophy and Psychology:1-25.
    This introduction aims to familiarize readers with basic dimensions of variation among pictorial and diagrammatic representations, as we understand them, in order to serve as a backdrop to the articles in this volume. Instead of trying to canvas the vast range of representational kinds, we focus on a few important axes of difference, and a small handful of illustrative examples. We begin in Section 1 with background: the distinction between pictures and diagrams, the concept of systems of representation, and that (...)
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  44. added 2014-11-26
    Mark Dingemanse (2014). Making New Ideophones in Siwu: Creative Depiction in Conversation. Pragmatics and Society 5 (3):384-405.
    Ideophones are found in many of the world’s languages. Though they are a major word class on a par with nouns and verbs, their origins are ill-understood, and the question of ideophone creation has been a source of controversy. This paper studies ideophone creation in naturally occurring speech. New, unconventionalised ideophones are identified using native speaker judgements, and are studied in context to understand the rules and regularities underlying their production and interpretation. People produce and interpret new ideophones with the (...)
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  45. added 2014-11-26
    Katerina Bantinaki (2014). What is a Picture? Depiction, Realism, Abstraction, by Michael Newall. Mind 123 (491):944-947.
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  46. added 2014-11-26
    Derek Matravers & Damien Freeman (2014). Figuring Out Figurative Art: Contemporary Philosophers on Contemporary Paintings. Routledge.
    In 1797 Friedrich Schlegel wrote that "philosophy of art usually lacks one of two things: either the philosophy, or the art." This collection of essays contains both the philosophy and the art. It brings together an international team of leading philosophers to address diverse philosophical issues raised by recent works of art. Each essay engages with a specific artwork and explores the connection between the image and the philosophical content. Thirteen contemporary philosophers demonstrate how philosophy can aid interpretation of the (...)
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  47. added 2014-11-20
    Malcolm Budd (2014). Morality, Society, and the Love of Art. Estetika: The Central European Journal of Aesthetics 51 (2):170-207.
    The principal focus of the essay is the idea of artistic value, understood as the value of a work of art as the work of art it is, and the essay explores the connections, if any, between artistic value and a variety of other values in human life. I start with a series of observations about social values and then turn to moral values. Beginning from Goethe’s claim that ‘music cannot affect morality, nor can the other arts, and it would (...)
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  48. added 2014-11-20
    Jason Gaiger (2014). The Idea of a Universal Bildwissenschaft. Estetika: The Central European Journal of Aesthetics 51 (2):208-229.
    The emergence of Bildwissenschaft as a new interdisciplinary formation that is intended to encompass all images calls for an analysis of the grounds on which the claim to universality can be upheld. I argue that whereas the lifting of scope restrictions imposes only a weak universality requirement, the identification of features that belong to the entire class of entities that are categorized as images imposes a strong universality requirement. Reflection on this issue brings into focus the distinctive character of Bildwissenschaft (...)
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  49. added 2014-11-20
    Sebastian Gardner (2014). Method and Metaphysics in the Philosophy of Art. Estetika: The Central European Journal of Aesthetics 51 (New Series: 7) (2):230-253.
    This article is concerned with the question of the proper place of substantial general metaphysics in aesthetics and the philosophy of art. For reasons articulated in writings from the 1950s, analytic aesthetics denies that there is any relation of dependence and regards the intrusion of metaphysics into reflection on art as not merely superfluous but also methodologically inappropriate. Against this I argue that analytic aesthetics in its circumscription of the bounds of the discipline is not metaphysically neutral, that it is (...)
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  50. added 2014-11-20
    Tomáš Koblížek (2014). Carole Maigné, Ed., Formalisme Esthétique: Prague Et Vienne au XIXe Siècle. Estetika: The Central European Journal of Aesthetics 51 (2):282-289.
    A review of Carole Maigné´s Formalisme esthétique: Prague et Vienne au XIXe siècle.
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