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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2016-04-27
    David Egan (2016). Literature and Thought Experiments. Journal of Aesthetics and Art Criticism 74 (2):139-150.
    Like works of literature, thought experiments present fictional narratives that prompt reflection in their readers. Because of these and other similarities, a number of philosophers have argued for a strong analogy between works of literary fiction and thought experiments, some going so far as to say that works of literary fiction are a species of thought experiment. These arguments are often used in defending a cognitivist position with regard to literature: thought experiments produce knowledge, so works of literary fiction can (...)
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  2. added 2016-04-27
    Alan H. Goldman (2016). Walton, Kendall. In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press, 2015, 295 Pp., $29.95 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 74 (2):203-205.
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  3. added 2016-04-27
    James W. Mock (2016). CAME, DANIEL, Ed. Nietzsche on Art and Life. Oxford University Press, 2014, 255 Pp., $74.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (2):210-212.
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  4. added 2016-04-27
    Jennifer Judkins (2016). LEVINSON, JERROLD. Musical Concerns: Essays in Philosophy of Music. Oxford University Press, 2015, Viii + 173 Pp., $45.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (2):205-206.
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  5. added 2016-04-27
    David Friedell (2016). Abstract Creationism and Authorial Intention. Journal of Aesthetics and Art Criticism 74 (2):129-137.
    creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.
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  6. added 2016-04-27
    Tom Hanauer (2016). Sublimity and the Ends of Reason: Questions for Deligiorgi. Journal of Aesthetics and Art Criticism 74 (2):195-199.
    The sublime has come under severe criticism in recent years. Jane Forsey, for instance, has argued that all theories of the sublime “rest on a mistake”. In her article, “The Pleasures of Contra-purposiveness: Kant, the Sublime, and Being Human,” Katerina Deligiorgi () provides a rejoinder to Forsey. Deligiorgi argues—with the help of Kant—that a coherent theory of the sublime is possible, and she provides a sketch for such a theory. Deligiorgi makes good progress in the debate over the sublime. But (...)
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  7. added 2016-04-27
    Geertjan de Vugt (2016). DAVEY, NICHOLAS. Unfinished Worlds: Hermeneutics, Aesthetics and Gadamer. Edinburgh: Edinburgh University Press, 2013, Viii + 190 Pp., 1 B&W Illus., £70.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (2):217-219.
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  8. added 2016-04-27
    Jon Robson & Aaron Meskin (2016). Video Games as Self‐Involving Interactive Fictions. Journal of Aesthetics and Art Criticism 74 (2):165-177.
    This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...)
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  9. added 2016-04-27
    Katerina Deligiorgi (2016). Finite Agents, Sublime Feelings: Response to Hanauer. Journal of Aesthetics and Art Criticism 74 (2):199-202.
    Tom Hanauer's thoughtful discussion of my article “The Pleasures of Contra-purposiveness: Kant, the Sublime, and Being Human” puts pressure on two important issues concerning the affective phenomenology of the sublime. My aim in that article was to present an analysis of the sublime that does not suffer from the problems identified by Jane Forsey in “Is a Theory of the Sublime Possible?”. I argued that Kant's notion of reflective judgment can help with this task, because it allows us to capture (...)
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  10. added 2016-04-27
    David Egan (2016). HARRISON, BERNARD What Is Fiction For? Literary Humanism Restored. Indiana University Press, 2015, Xxvi + 593 Pp., $85.00 Cloth, $35.00 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 74 (2):212-215.
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  11. added 2016-04-27
    John Gibson (2016). YABLO, STEPHEN. Aboutness. Princeton, NJ: Princeton University Press, 2014, Xi + 221 Pp., $45.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (2):206-208.
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  12. added 2016-04-27
    Kristin Boyce (2016). LEAR, JONATHAN. A Case for Irony. Harvard University Press, 2011, 210 Pp., $33.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (2):208-210.
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  13. added 2016-04-27
    Brent Kalar (2016). Peters, Julia. Hegel on Beauty. New York: Routledge, 2015, 161 Pp., $145.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (2):215-217.
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  14. added 2016-04-27
    P. D. Magnus (2016). Kind of Borrowed, Kind of Blue. Journal of Aesthetics and Art Criticism 74 (2):179-185.
    In late 2014, the jazz combo Mostly Other People Do the Killing released Blue—an album that is a note-for-note remake of Miles Davis's 1959 landmark album Kind of Blue. This is a thought experiment made concrete, raising metaphysical puzzles familiar from discussion of indiscernible counterparts. It is an actual album, rather than merely a concept, and so poses the aesthetic puzzle of why one would ever actually listen to it.
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  15. added 2016-04-27
    Ming Dong Gu (2016). Patterns of Tao : The Birth of Chinese Writing and Aesthetics. Journal of Aesthetics and Art Criticism 74 (2):151-163.
    In the Chinese tradition, the relationship between art and philosophy is conceptually explored in terms of the relationship between dao and wen, which may respectively be viewed as representing philosophy and art. Over history, discourses on dao 道 and wen 文 are central to studies of Chinese literature, art, culture, and civilization. But just as dao holds a range of ideas in Chinese philosophy, wen is also one of the most complex terms in Chinese tradition, whose denotations and connotations are (...)
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  16. added 2016-04-27
    Machiel Keestra (2014). Conflict & Compassie: een hedendaagse blik op Wagner en een wagneriaanse blik op onszelf. In Rutger Helmers & Philip Westbroek (eds.), Conflict en compassie. 200 jaar Richard Wagner. Nationale Opera & Ballet 157-166.
    (text in Dutch) Mediated by the so-called Dream-organ ('Traumorgan') which opera composer Richard Wagner mentions in his writings, the author engages in a fictitious dialogue with Wagner. Their dialogue focuses on a few topics related to the conference theme 'Conflict and compassion' that were of concern to Wagner in his days and which have undergone some serious changes since his death. The author discusses with Wagner the 'death of tragedy', sexuality and desire after the sexual revolution, the attractivity of musical (...)
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  17. added 2016-04-26
    Stephanie Adair (forthcoming). The Modality of Artistic Objects. Axiomathes:1-13.
    Nicolai Hartmann describes how artistic objects arise through the interplay between a material foreground and immaterial background. In this paper, I show how the layered structure also prevents the modal imbalance inherent in artistic objects from violating the intermodal laws of the real. The real law of intermodal implication specifies that real possibility cannot extend beyond real necessity. I begin by explicating the real intermodal laws and describing how they give the real sphere its characteristic narrowness and determinateness. Hartmann describes (...)
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  18. added 2016-04-26
    Christoph Baumberger (2014). Gebaute Zeichen. Zu den Bedeutungsweisen von Bauwerken. In Jörg H. Gleiter (ed.), Symptom Design. Vom Zeigen und Sich-Zeigen der Dinge. Transkript 93-113.
    Architekturkritiker und -historiker verwenden eine Vielzahl von Ausdrücken, um anzugeben, was Bauwerke bedeuten. Es ist beispielsweise die Rede davon, dass sie etwas ausdrücken, repräsentieren, zitieren, manifestieren, darstellen oder aussagen; man kann von Gebäuden lesen, die mehrdeutig sind, als Metaphern fungieren oder auf etwas anspielen. In diesem Aufsatz frage ich, wie Bauwerke bedeuten können, um die Grundzüge einer Theorie der Bedeutungsweisen von Bauwerken und ihren Teilen vorzustellen, die als Rahmen für Einzelanalysen und historische Untersuchungen verwendet werden kann. Anstatt die meist unklaren (...)
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  19. added 2016-04-26
    Christoph Baumberger (2013). Art and Understanding. In Defence of Aesthetic Cognitivism. In Marc Greenlee, Rainer Hammwöhner, Bernd Köber, Christoph Wagner & Christian Wolff (eds.), Bilder sehen. Perspektiven der Bildwissenschaft. Schnell + Steiner 41-67.
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  20. added 2016-04-26
    Christoph Baumberger (2010). Gebaute Zeichen. Eine Symboltheorie der Architektur. Ontos.
    Gebaute Zeichen zeigt am Beispiel der Architektur, wie auf der Grundlage der Arbeiten von Nelson Goodman eine leistungsfähige Symboltheorie entwickelt werden kann. Neben der bisher umfassendsten Rekonstruktion enthält das Buch wichtige Modifikationen und wesentliche Erweiterungen von Goodmans Theorie. Die resultierende Symboltheorie der Architektur bietet ein weit reicheres Instrumentarium zur Interpretation von Bauwerken als bestehende Architektursemiotiken. Zudem entgeht sie einer Reihe von Einwänden, welche gegen diese vorgebracht wurden. Vorbereitend wird gezeigt, inwiefern Bauwerke und ihre Teile als Symbole funktionieren können. Der Hauptteil (...)
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  21. added 2016-04-25
    Robert R. Clewis (2015). The Kantian Sublime and the Revelation of Freedom. Cambridge University Press.
    In this book Robert R. Clewis shows how certain crucial concepts in Kant's aesthetics and practical philosophy - the sublime, enthusiasm, freedom, empirical and intellectual interests, the idea of a republic - fit together and deepen our understanding of Kant's philosophy. He examines the ways in which different kinds of sublimity reveal freedom and indirectly contribute to morality, and discusses how Kant's account of natural sublimity suggests that we have an indirect duty with regard to nature. Unlike many other studies (...)
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  22. added 2016-04-25
    Christoph Baumberger (2015). The Ethical Criticism of Architecture: In Defense of Moderate Moralism. Architecture Philosophy 1 (2):179-197.
    Abstract: The practice of architectural criticism is supercharged with ethical evaluations. But do they have any bearing on the architectural value of a building? And how are the ethical value of an architectural work and its aesthetic value related? I defend the following answers, which define a version of moderate moralism with respect to architecture: An architectural work will in some cases be (1) architecturally flawed (or meritorious) due to the fact that it has ethical flaws (or merits), (2) (...)
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  23. added 2016-04-25
    Christoph Baumberger (2015). Architekturphilosophie: Ihre Abgrenzung von der Architekturtheorie und ihre Verortung in der Philosophie. In Jörg H. Gleiter & Ludger Schwarte (eds.), Architektur und Philosophie: Grundlagen, Standpunkte, Perspektiven. Transkript 58-73.
    In den letzten Jahren ist verschiedentlich vorgeschlagen worden, die philosophischen Ansätze zur Architektur in einer eigenständigen Disziplin der Architekturphilosophie zu-sammenzufassen. Im vorliegenden Beitrag gebe ich eine allgemeine Charakterisierung der Architekturphilosophie, indem ich sie einerseits von der Architekturtheorie abgrenze und andererseits in der Philosophie verorte. Im ersten Teil diskutiere ich verschiedene Ideen, die Abgrenzung von der Architekturtheorie über autorbezogene oder über inhaltliche Kriterien zu leisten, und mache einen Vorschlag, der mit stärker formalen Kriterien operiert. Im zwei¬ten Teil wende ich mich der (...)
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  24. added 2016-04-25
    Christoph Baumberger (2014). Gibt es architektonische Zitate? Zeitschrift Für Semiotik 36 (1-2):95-124.
    Summary. Does architecture allow for quotations in a precise and non-metaphorical sense? To answer this question, I formulate with Nelson Goodman for the clearest case, i.e. linguistic quotations, three indi-vidually necessary and collectively sufficient conditions and ask whether they can be satisfied by build-ings or their parts. On the one hand, I argue that in most cases which architectural theorists and critics describe as architectural quotations, what in fact is present is some kind of allusion. On the other hand, I (...)
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  25. added 2016-04-25
    Christoph Baumberger (2014). Konstruktive Schönheit. Zur ästhetischen Erfahrung und Wertschätzung von Architektur. In Mario Rinke & Josef Schwartz (eds.), Holz: Stoff oder Form. Transformation einer Konstruktionslogik. Niggli 187-207.
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  26. added 2016-04-25
    Robert R. Clewis (2014). What Can Hume Teach Us About Film Evaluation. Aisthema 1 (2):1-22.
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  27. added 2016-04-25
    Christoph Baumberger (2013). Architekturphilosophie. Eine Einleitung. In Architekturphilosophie. Grundlagentexte. Mentis 7-29.
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  28. added 2016-04-25
    Robert R. Clewis (2012). Film Evaluation and the Enjoyment of Dated Films. Projections: The Journal for Movies and Mind 6 (2):42-63.
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  29. added 2016-04-25
    Christoph Baumberger (2011). Structural Concepts and Spatial Design – On the Relationship Betweeen Architect and Engineer. In Aita Flury (ed.), Cooperation. The Engineer and the Architect. Birkhäuser 57-70.
    The profession of the master builder has become differentiated in the course of the technological developments stemming from industrialization, separating into the professional disciplines of the architect (in the modern sense) and the structural engineer. Ever since, the question has been about the relationship between architect and structural engineer and the nature of their collaboration. Differing responses have been propagated in architectural theory and exemplified by building practice. In this essay, I distinguish between the models of the monologue by an (...)
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  30. added 2016-04-25
    Christoph Baumberger (2010). Kunst aktiviert Kunst. Ein Framework für eine funktionale Analyse der Museumsarchitektur. In Jakob Steinbrenner & Julian Nida-Rümelin (eds.), Kontextarchitektur. Hatje-Cantz 49-76.
    Im Zusammenhang mit der Museumsarchitektur wie auch sonst in der Architekturtheorie und der Philosophie der Architektur werden die Ausdrücke »Funktion« und »funktional« sehr häufig verwendet, aber kaum je expliziert. In diesem Aufsatz schlage ich eine Explikation des architektonischen Funktionsbegriffs vor, um am Beispiel der Museumsarchitektur ein Framework für eine funktionale Analyse von Bauwerken zu entwickeln. Im Anschluss an meinen Explikationsvorschlag, der es erlaubt, verschiedene Funktionstypen zu unterscheiden, behandle ich die praktischen und die ästhetischen Funktionen von Museumsbauten. Abschließend weise ich auf (...)
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  31. added 2016-04-25
    Robert R. Clewis (2008). Greenberg, Kant, and Aesthetic Judgments of Modernist Art. AE: Canadian Aesthetics Journal 18.
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  32. added 2016-04-24
    David Anthony Gall (2016). Formalist Problems, Realist Solutions. Journal of Aesthetic Education 50 (1):80-94.
    For about the last three decades, postmodernists have exposed the weaknesses of modernist formalism. Western modernist formalism effectively locates art’s meaning in its formal qualities. Clive Bell’s twentieth-century significant form aesthetic theory, Clement Greenberg and abstract art, and art educators’ preoccupation with design elements and principles typify this modernist tendency.1 In contrast, postmodernists generally insist that sociocultural context supplies art’s meaning. Within contemporary art education, postmodernist theory relies strongly on semiotics, neopragmatism, and social constructivist theories of culture; these tend to (...)
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  33. added 2016-04-24
    Susana Viegas (2016). Toward a Cinematic Pedagogy: Gilles Deleuze and Manoel de Oliveira. Journal of Aesthetic Education 50 (1):112-122.
    On the one hand, there’s the internal development of cinema as it seeks new audio-visual combinations and major pedagogical lines and finds in television a wonderful field to explore.1My aim in this essay will be to approach cinema, philosophy, and cinematic pedagogy through an exploration of the interest and impact that the Portuguese filmmaker Manoel de Oliveira has had on the philosophical thought regarding cinema and the moving images of Gilles Deleuze. According to Deleuze, there is a principle of (...)
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  34. added 2016-04-24
    Vid Simoniti (2016). Virginia Woolf, Literary Style, and Aesthetic Education. Journal of Aesthetic Education 50 (1):62-79.
    Works of literature represent stories, characters, and events: these are the contents of a work. Often, the contents of literary works are fictional; however, it is just as characteristic of works of literature that these contents are narrated in a distinct style of writing, in an author’s distinct literary “voice.” In this paper, I consider whether works of literature might represent something over and above their fictional contents in virtue of their style alone and what consequences this might have for (...)
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  35. added 2016-04-24
    Amir Konigsberg (2016). Aesthetic Educators, Aesthetic Experts, and Deferential Belief Formation. Journal of Aesthetic Education 50 (1):34-45.
    Rational aesthetic deference becomes apparent when one person’s aesthetic belief gives another person a reason to move his own aesthetic belief in the direction of the other person. It occurs when one person’s aesthetic belief gives another person a normative reason to move your belief in the direction of mine, on epistemic grounds. In such a case, what the first person believes also provides a justification for the second person’s aesthetic belief. This kind of justification is an indirect justification because (...)
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  36. added 2016-04-24
    Ming Dong Gu (2016). The Ethical Turn in Aesthetic Education: Early Chinese Thinkers on Music and Arts. Journal of Aesthetic Education 50 (1):95-111.
    In memory of Anthony C. Yu who read and commented on an early version of this article.In the comparative philosophy of art, there is a widely accepted view that, while classical Western aesthetic theory emphasizes the unity of beauty and truth, classical Chinese aesthetic theory focuses on the unity of beauty and goodness. Indeed, one striking feature of Chinese aesthetics is its emphasis on moral education and didacticism. Although Western tradition also emphasizes the importance of moral education in art (...)
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  37. added 2016-04-24
    Guillermo Marini (2016). A Primordial Sense of Art. Journal of Aesthetic Education 50 (1):46-61.
    Let us imagine that a man loses his keys one night and starts looking for them under the light of a street lamp. When people join him to help him search, they ask where it was that he thinks he might have let them fall; with a frustrated look on his face, he then points into the dark distance and says, by way of explanation, “I am looking under the lamppost because this is where the light is!” This story, introduced (...)
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  38. added 2016-04-24
    Paul Giladi (2016). Embodied Meaning and Art as Sense-Making: A Critique of Beiser’s Interpretation of the ‘End of Art Thesis'. Journal of Aesthetics and Culture 8:http://dx.doi.org/10.3402/jac.v8.
    The aim of this paper is to challenge Fred Beiser’s interpretation of Hegel’s meta-aesthetical position on the future of art. According to Beiser, Hegel’s comments about the ‘pastness’ of art commit Hegel to viewing postromantic art as merely a form of individual self-expression. I both defend and extend to other territory Robert Pippin’s interpretation of Hegel as a proto-modernist, where such modernism involves (i) his rejection of both classicism and Kantian aesthetics, and (ii) his espousal of what one may call (...)
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  39. added 2016-04-24
    Katerina Bantinaki (2016). Commissioning the Work: From Singular Authorship to Collective Creatorship. Journal of Aesthetic Education 50 (1):16-33.
    A specific type of collaboration has become prevalent in contemporary art: in this type of collaboration—henceforth, commissioning—an artist assigns the production of the work of art to skilled craftsmen or unskilled workers, directing their labor through instructions or blueprints. Commissioning has been accepted by the art world as a legitimate mode of artistic production—legitimate in the sense that it does not undermine the authenticity of the work as a creation of the artist, even if she has not laid a hand (...)
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  40. added 2016-04-23
    Tomás N. Castro (2015). Uma topografia poética e estética em António Dacosta. Revista de História da Arte 12:266-277.
    This work departs from Beardsley’s critique to the intentional fallacy, in order to introduce the concept of artist’s concerns, extrinsic to works but manifest in them. Then, we will describe António Dacosta’s (1914-1990) unique career, considering topography the main poetical and aesthetic value for some works of the period 1984-1990. And, although they seem to depict islands, we will argue that Dacosta depicted insularity in an unparalleled way. -/- Este trabalho parte da crítica de Beardsley à falácia intencional para propor (...)
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  41. added 2016-04-18
    James Duban (2016). The Generalization of Holocaust Denial: Meyer Levin, William James, and the Broadway Production of The Diary of Anne Frank. Philosophy and Literature 39 (1):234-248.
    In his essay “Pragmatism and Humanism,” William James recalls a friend’s disappointment that the “prodigious star-group” known as the Big Dipper “should remind us Americans of nothing but a culinary utensil.”1 Such, presumably, is the fault of generalization, though James himself is less than specific in illustrating the occasional parity of varied perspectives. For example, he posits two identical equilateral triangles, one inverted and overlapping the other, and notes, “You can treat the adjoined figure as a star, as two big (...)
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  42. added 2016-04-18
    Dale Jacquette (2016). Salinger's World of Adolescent Disillusion. Philosophy and Literature 39 (1):156-177.
    “Almost every time somebody gives me a present, it ends up making me sad.”J. D. Salinger’s tale of juvenile weltschmerz, The Catcher in the Rye,1 portrays a personal psychology of youthful disillusion. Holden Caulfield, the novel’s narrator and antihero, embarks on an existential odyssey in New York City after being drummed out of his fourth private prep school for failing grades.Smart and resourceful enough when the occasion requires, Holden is disgusted with virtually everything and everyone around him. By maintaining a (...)
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  43. added 2016-04-18
    T. Allan Hillman (2016). Faulkner the Stoic: Honor, Evil, and the Snopeses in the Snopes Trilogy. Philosophy and Literature 39 (1):260-279.
    According to the stoic philosopher Chrysippus, we are to imagine our lives by analogy to a dog that is tied to a cart. It is not up to the dog whether or not he is so tied, just as it is not up to us what our external circumstances happen to be. However, it is up to the dog whether he willingly runs along behind the cart or is unwillingly dragged, just as it is up to us to decide the (...)
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  44. added 2016-04-18
    David Kleinberg-Levin (2016). Nihilism in Samuel Beckett's The Lost Ones: A Tale for Holocaust Remembrance. Philosophy and Literature 39 (1):212-233.
    In 1966, Samuel Beckett wrote, and then abandoned, a short story to which he eventually gave the title Le dépeupleur. In 1970, he completed it to his satisfaction and it was published.1 Two years later, it was issued in an English translation prepared by Beckett himself, who gave it the very different title The Lost Ones. In this story, Beckett is, like Dante, inventing narrative images of a “realm” or “world” in which matters of the utmost existential and moral gravity (...)
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  45. added 2016-04-18
    Michael O'Sullivan (2016). Blake's Visions. Philosophy and Literature 39 (1):317-325.
    There is an apparent tension in William Blake’s attitude toward the visual. Blake denies the value of sense perception, and of perceptible natural objects, as sources of genuine insight. And he is dismissive of “natural religion” on the grounds that natural objects as present to the senses are insufficient to ground religious experience.Blake’s own spiritual experiences are, however, typically described in intensely visual terms. As a child of eight, he saw “a tree filled with angels” on the common at Peckham (...)
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  46. added 2016-04-18
    Sukhbir Singh (2016). Kant, Schopenhauer, Saul Bellow: Evil in Mr. Sammler's Planet. Philosophy and Literature 39 (1):280-316.
    “In evil as in art there was illumination.”Evil has been an enchanting subject with writers since time immemorial. For the Romans and Greeks, miasma or moral contamination in society was an anathema. They therefore ardently contested evil in their social life and literary works as an unnatural pollutant in an otherwise unblemished creation of the Almighty. Their vision of society was exclusive of evil and hence Oedipus and Medea were banished from their respective states for posing a threat to the (...)
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  47. added 2016-04-18
    Valerie Wainwright (2016). On Being Tough-Minded: Sense and Sensibility and the Moral Psychology of "Helping". Philosophy and Literature 39 (1):195-211.
    It is fortunate for the community in which she lives that one of the things about which Elinor Dashwood cares a great deal is the social duty of “general civility”—the practice, in Hume’s words, of “gentle usage.” The heroine of Sense and Sensibility is respectful and considerate toward others, whether or not these are dearly loved family members or comparative strangers. According to Karen Stohr, throughout the novel, “Elinor is the exemplar of moderation, propriety and moral rectitude,” and the reader’s (...)
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  48. added 2016-04-18
    Debra Bergoffen (2016). Antigone After Auschwitz. Philosophy and Literature 39 (1):249-259.
    In the preface to the 1853 first edition of his poems, Matthew Arnold claimed that it was no longer possible to be interested in the quarrel staged in Antigone. He found the conflict between a sister’s duty to bury her brother and a king’s insistence on obedience to the laws of the state passé.1 Living in an age in which souls mattered more than bodies, and in a time when mass graves filled with murdered and mutilated bodies were not part (...)
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  49. added 2016-04-15
    Dustin Garlitz (2014). Oral Tradition. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
  50. added 2016-04-15
    Eldonna L. May & Dustin Garlitz (2014). Music Culture. In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage
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