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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2016-12-02
    Noël Carroll (2016). Art Appreciation. Journal of Aesthetic Education 50 (4):1-14.
    There seem to be at least two leading conceptions of art appreciation. The first, and by far the most popular, it seems to me, regards “appreciation” as a synonym for “approbation,” which itself can be a synonym for affection or even love. “To appreciate,” in this sense, is “to cherish.” This is the notion of appreciation that most plain speakers have in mind when they say things such as “I appreciate what you’ve done with your garden.” They mean “I like (...)
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  2. added 2016-12-02
    David Raymond Bell (2016). Learning, Play, and Creativity: Asobi, Suzuki Harunobu, and the Creative Practice. Journal of Aesthetic Education 50 (4):86-113.
    How was creativity understood in the distinctive artistic practices of eighteenth-century Japan? How were its artists able to maintain consistently inventive creative pathways over extended periods? Artistic creativity is sometimes assumed to derive from chance, opportune, or accidental events. For early Western creativity theorists like Graham Wallas,1 Alex Osborn,2 or Robert Fritz 3 such fortunate moments of illumination engendered creative innovation. The invention of synthetic dyes,4 Japanese haboku “splashed ink painting,” or Jackson Pollock’s spatters of paint all involved elements of (...)
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  3. added 2016-12-02
    Joshua M. Hall (2016). Time-Traveling Image: Gilles Deleuze on Science-Fiction Film. Journal of Aesthetic Education 50 (4):31-44.
    Gilles Deleuze claims in the preface to Difference and Repetition, “A book of philosophy ought to be in part... a kind of science fiction.”1 And in regard to Deleuze’s relationship to film, Jean-Luc Nancy observes that “Deleuze’s interest in the cinema is not just appended to his work: it is at the centre, in the projective principle of his thought. It is a cinema-thought.”2 Within the larger domain of science-fiction cinema in general, the present article focuses primarily on the subgenre (...)
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  4. added 2016-12-02
    Michael Boatright (2016). Emersonian Reading and Ethics: Reading for Developing an Ethical Stance Toward Self and Other. Journal of Aesthetic Education 50 (4):15-30.
    We want real relations of the mind and the heart; we want friendship; we want knowledge; we want virtue; a more inward existence to read the history of each other. Ralph Waldo Emerson fiercely championed life as a living, pulsating experiment perpetually engaged and situated in relations. Beginning with Emerson’s first publication, Nature, when he claims that “a ray of relations passes from every other being” and that the human being cannot be understood without other beings and other beings cannot (...)
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  5. added 2016-12-02
    Kevin N. Moll (2016). Prolegomena to Any Future "Great Books of Music": Reconsidering Liberal-Arts Paradigms in a Postmodern Age. Journal of Aesthetic Education 50 (4):45-85.
    The most fundamental issue in pedagogy is the question of what should be taught. The need to specify the content of learning applies at every stage of instruction from kindergarten to postgraduate school and at every level of curriculum from the institutional course catalogue to the daily class or lesson plan. On the broadest scale, implementation of one or another set of priorities on this matter will tend to dictate the direction of our entire educational system. Indeed, for well over (...)
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  6. added 2016-12-02
    Eric Mullis (2016). The Martial Arts, Culture, and the Body. Journal of Aesthetic Education 50 (4):114-124.
    Barry Allen draws on his practical experience with a range of martial-arts traditions and his academic training in philosophy as he investigates the relationship between Chinese philosophy, Western philosophy, and Asian martial arts. The writing is accessible, and the work as a whole provides insights in this area of interdisciplinary philosophy that will be of interest to martial artists and academics from a range of disciplines. Allen writes that his purpose is not to develop a comprehensive philosophy of the martial (...)
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  7. added 2016-11-26
    Max De Gaynesford, How Not to Do Things with Words.
    If philosophy and poetry are to illuminate each other, we should first understand their tendencies to mutual antipathy. Examining mutual misapprehension is part of this task. J. L. Austin's remarks on poetry offer one such point of entry: they are often cited by poets and critics as an example of philosophy's blindness to poetry. These remarks are complex and their purpose obscure—more so than those who take exception to them usually allow or admit. But it is reasonable to think that, (...)
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  8. added 2016-11-26
    Max De Gaynesford, Speech Acts and Poetry.
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  9. added 2016-11-22
    Keren Gorodeisky (forthcoming). Value First: Comments on Mohan Matthen’s ‘The Pleasure of Art’. Australasian Philosophical Review 1 (1).
    While I welcome Mohan Matthen’s insistence that art is connected to aesthetic pleasure, I worry about his commitment to viewing pleasure as prior to, and constitutive of, the value of art. I raise my reservations by (i) dispelling his criticism of the reversed explanatory direction, and (ii) showing problems for his commitment. As an alternative, I offer an account of pleasure that explains it in terms of the independent value of art—an account that is free of the problems Matthen raises (...)
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  10. added 2016-11-22
    E. Di Bona (2015). Narrative and Essayistic Temporalities. In Ch Wampole S. Ercolino (ed.), Narration and Reflection, Special Issue of Compar(a)ison: An International Journal of Comparative Literature. Peter Lang 49-62.
    The issues of this essay concern whether there are ways of experiencing time that are specific to narration and whether such ways can also be applied to the experience of time in reflection. In order to tackle these issues, we shall compare and contrast the experience of time in life with both the temporal experiences of narration and the temporal experiences of reflection. We shall begin, then, with a discussion on what the “experience of time” is, in the attempt of (...)
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  11. added 2016-11-20
    James Edwin Mahon (2013). All's Fair in Love and War? Machiavelli and Ang Lee's "Ride With the Devil". In Robert Arp, Adam Barkman & Nancy King (eds.), The Philosophy of Ang Lee. University Press of Kentucky 265-290.
    In this chapter I argue that Machiavelli does not hold that all deception is permissible in war. While Machiavelli claims that "deceit... in the conduct of war is laudable and honorable," he insists that such deceit, or ruses of war, is not to be confounded with perfidy. Any Lee's U.S. Civil War film, "Ride With the Devil," illustrates this difference. The film also illustrates the difference between lying as part of romance, which is permitted, and lying at the moment of (...)
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  12. added 2016-11-20
    James Edwin Mahon (2013). A Double-Edged Sword: Honor in The Duellists. In Alan Barkman, Ashley Barkman & Nancy King (eds.), The Culture and Philosophy of Ridley Scott. Lexington Books 45-60.
    In this essay I argue that Ridley Scott's first feature film, The Duelists, which is an adaptation of a Joseph Conrad novella, contains his deepest meditation on honor in his entire career. The film may be said to answer the following question about honor: is being bound to do something by honor, when it is contrary to one's self-interest, a good thing, or a bad thing? It may be said to give the answer that it may be either good or (...)
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  13. added 2016-11-13
    Botond Csuka (2016). J. Colin McQuillan, Early Modern Aesthetics. Estetika: The Central European Journal of Aesthetics 53 (2):236-245.
    A review of J. Colin McQuillan´s Early Modern Aesthetics.
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  14. added 2016-11-13
    Pavel Zahrádka (2016). Jozef Kovalčik and Max Ryynänen, Eds., Aesthetics of Popular Culture. Estetika: The Central European Journal of Aesthetics 53 (2):246-255.
    A review of Jozef Kovalčik´s and Max Ryynänen´s Aesthetics of Popular Culture.
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  15. added 2016-11-13
    Damla Dönmez (2016). Saving ‘Disinterestedness’ in Environmental Aesthetics: A Defence Against Berleant. Estetika: The Central European Journal of Aesthetics 53 (2):149-164.
    The old, historical concept of ‘disinterestedness’ has dominated the tradition of aesthetics for almost two centuries. In environmental aesthetics, a rather recent branch of aesthetics, some scholars such as Arnold Berleant have criticized disinterestedness, claiming that it is not a satisfactory criterion since it views the environment as an artwork. As an alternative, Berleant proposes a theory of the ‘aesthetics of engagement’. I claim that although his main intention is to introduce a comprehensive perception of nature, ‘appreciating nature as nature’, (...)
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  16. added 2016-11-13
    Ondřej Sládek (2016). Jan Mukařovský: The Semiology of Art. Estetika: The Central European Journal of Aesthetics 53 (2):184-235.
    An introduction to an English translation of Jan Mukařovský´s lecture The Semiology of Art. In this lecture Mukařovský, a Czech aesthetician, literary historian, theorist, and leading proponent of Czech structuralism, develops his interpretation of the semiotics of art from a detailed explanation of the basic functions of the artistic sign. He emphasizes the role of the aesthetic function, which is dominant but latently and potentially contained in all the other functions of the linguistic and the artistic sign. He then defines (...)
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  17. added 2016-11-13
    Annelies Monseré (2016). Why We Need a Theory of Art. Estetika: The Central European Journal of Aesthetics 53 (2):165-183.
    In this article, I argue against Dominic McIver Lopes’s claim that nobody needs a theory of art. On the one hand, I will demonstrate that Lopes’s alternative to theories of art – namely, the buck-passing theory of art – is neither more viable nor more fruitful: it is likewise incapable of resolving disagreement over the status of certain artefacts and of being fruitful for the broader field of the arts. On the other hand, I will defend the view that we (...)
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  18. added 2016-11-13
    Jerrold Levinson (2016). Music-Specific Emotion: An Elusive Quarry. Estetika: The Central European Journal of Aesthetics 53 (2):115-131.
    Expressive music, almost everyone agrees, evokes an emotional response of some kind in receptive listeners, at least some of the time, in at least some conditions of listening. But is such an emotional response distinctive of or unique to the music that evokes it? In other words, is there such a thing as music-specific emotion? This essay is devoted to an exploration of that question and others related to it. In the main part of the essay a sixpart component model (...)
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  19. added 2016-11-13
    Paul Crowther (2016). Beauty and Transcendence: From Plato to the Ideal. Estetika: The Central European Journal of Aesthetics 53 (2):132-148.
    The Greek notion of beauty encompasses not only nature and artifice, but also the Good. This paper explains the connection by interpreting Plato in a way that allows his theory to be developed beyond the confines of his philosophy. It is argued that we could read his theory of beauty as based on fineness of appearance. This arises when a sensory particular transcends itself and suggests the presence of its sustaining Form, or when sophrosynē in human agency discloses the Good’s (...)
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  20. added 2016-11-09
    Gregory Currie (2016). Aesthetic Explanation and the Archaeology of Symbols. British Journal of Aesthetics 56 (3):233-246.
    I argue that aesthetic ideas should play a significant role in archaeological explanation. I sketch an account of aesthetic interests which is appropriate to archaeological contexts. I illustrate the role of aesthetics through a discussion of the transition from signals to symbols. I argue that the opposition in archaeological debate between explanation and interpretation is one we should reject.
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  21. added 2016-11-07
    Anezka Kuzmicova, Anne Mangen, Hildegunn Støle & Anne Charlotte Begnum (forthcoming). Literature and Readers' Empathy: A Qualitative Text Manipulation Study. Language and Literature 26.
    Several quantitative studies (e.g. Kidd & Castano, 2013a; Djikic et al., 2013) have shown a positive correlation between literary reading and empathy. However, the literary nature of the stimuli used in these studies has not been defined at a more detailed, stylistic level. In order to explore the stylistic underpinnings of the hypothesized link between literariness and empathy, we conducted a qualitative experiment in which the degree of stylistic foregrounding was manipulated. Subjects (N = 37) read versions of Katherine Mansfield's (...)
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  22. added 2016-11-07
    Tomás N. Castro & Maribel Mendes Sobreira (eds.) (2016). Philosophy & Architecture. Centro de Filosofia da Universidade de Lisboa.
    Philosophy & Architecture special number of philosophy@LISBON (International eJournal) 5 | 2016 edited by Tomás N. Castro with Maribel Mendes Sobreira Centro de Filosofia da Universidade de Lisboa ISSN 2182-4371.
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  23. added 2016-11-07
    Michael Burke, Anezka Kuzmicova, Anne Mangen & Theresa Schilhab (2016). Empathy at the Confluence of Neuroscience and Empirical Literary Studies. Scientific Study of Literature 6 (1):6-41.
    The objective of this article is to review extant empirical studies of empathy in narrative reading in light of (i) contemporary literary theory, and (ii) neuroscientific studies of empathy, and to discuss how a closer interplay between neuroscience and literary studies may enhance our understanding of empathy in narrative reading. An introduction to some of the philosophical roots of empathy is followed by tracing its application in contemporary literary theory, in which scholars have pursued empathy with varying degrees of conceptual (...)
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  24. added 2016-11-04
    Beltrán Ulate Esteban J. (2016). El desafío de la educación artística en tiempos hipermodernos. Revista Espiga 32:145-152.
    El artículo, de carácter aporético, asume como objetivo caracterizar sutilmente los desafíos de la educación artística, a partir de una crítica a la modernidad, hipermodernidad, así como a las manifestaciones de la sociedad estetizada. Se confuta la mirada de progreso desde una óptica emancipadora, con la premisa fundamental de lograr la elaboración del ¿por qué arte?, en los artistas.
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  25. added 2016-11-01
    Silvia Jonas (forthcoming). Aesthetic Ineffability. Philosophy Compass.
    The article provides an overview of the ways in which contemporary philosophers have tried to make sense of ineffability as encountered in aesthetic contexts. Section 1 sets up the problem of aesthetic ineffability by putting it into historical perspective. Section 2 specifies the kinds of questions that may be raised with regard to aesthetic ineffability, as well as the kinds of answer each one of those questions would require. Section 3 investigates arguments that seek to locate aesthetic ineffability within the (...)
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  26. added 2016-10-30
    Alexey Aliyev (forthcoming). Musical Perdurantism and the Problem of Intermittent Existence. Grazer Philosophische Studien.
    Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this problem and show that it (...)
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  27. added 2016-10-28
    John E. Toews (2016). Wagner’s Melodies: Aesthetics and Materialism in German Musical Identity. British Journal of Aesthetics 56 (1):110-112.
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  28. added 2016-10-28
    Alex E. Blazer (2015). A Phenomenological Approach to Donnie Darko. Film-Philosophy 19:208-220.
    Richard Kelly's Donnie Darko, a tragic and schizophrenic science fiction coming-of-age tale is a perplexing and paradoxical film with multiple interpretations and many aporias of meaning. In this examination, I first compare the two standard phenomenological ways to regard the film: either Donnie exists in a science fiction world or he is schizophrenic. Second, I pose a new and divergent reading of the filmic world: Donnie is a character in a story of artistic mourning. Third, I compare the feature film (...)
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  29. added 2016-10-27
    Alfred Archer (forthcoming). Aesthetic Judgements and Motivation. Inquiry.
    Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from Non-cognitivism in metaethics. One argument that is used to support metaethical Non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting Non-cognitivism. A tempting option, then, for those wishing (...)
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  30. added 2016-10-27
    Kalle Puolakka (2016). Public Art and Dewey's Democratic Experience: The Case of John Adams's On the Transmigration of Souls. Journal of Aesthetics and Art Criticism 74 (4):371-381.
    The aesthetic and political sides of public art have recently been examined from different theoretical vantage points. Pragmatist accounts, however, have been largely absent from the discussion. This article develops a theory of public art on some central ideas of John Dewey's aesthetics and social philosophy. From a pragmatist perspective, the best cases of public art turn out to have high social significance, for they are means of promoting the sense of community, which Dewey saw as foundational for well-functioning democracies. (...)
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  31. added 2016-10-27
    Alice Murphy (2016). CHIRIMUUTA, MAZVIITA. Outside Color: Perceptual Science and the Puzzle of Color in Philosophy. The MIT Press, 2015, Xii + 245 Pp., 5 Color + 10 B&W Illus., $40.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (4):428-430.
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  32. added 2016-10-26
    Sheila Lintott (2016). Superiority in Humor Theory. Journal of Aesthetics and Art Criticism 74 (4):347-358.
    In this article, I consider the standard interpretation of the superiority theory of humor attributed to Plato, Aristotle, and Hobbes, according to which the theory allegedly places feelings of superiority at the center of humor and comic amusement. The view that feelings of superiority are at the heart of all comic amusement is wildly implausible. Therefore textual evidence for the interpretation of Plato, Aristotle, or Hobbes as offering the superiority theory as an essentialist theory of humor is worth careful consideration. (...)
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  33. added 2016-10-26
    Olivier Mathieu (2016). VASALOU, SOPHIA. Schopenhauer and the Aesthetic Standpoint: Philosophy as a Practice of the Sublime. Cambridge University Press, 2014, 237 Pp., $99.99 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (4):420-423.
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  34. added 2016-10-26
    Robert Fudge (2016). MACNEILL, PAUL, Ed. Ethics and the Arts. Dordrecht, Netherlands: Springer, 2014, Xiii + 273 Pp., 8 B&W Illus., $129.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (4):423-425.
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  35. added 2016-10-26
    William P. Seeley (2016). CHATTERJEE, ANJAN. The Aesthetic Brain: How We Evolved to Desire Beauty and Enjoy Art. Oxford University Press, 2013, Xxiii + 217 Pp., $36.95 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (4):430-432.
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  36. added 2016-10-26
    Tony Chackal (2016). Of Materiality and Meaning: The Illegality Condition in Street Art. Journal of Aesthetics and Art Criticism 74 (4):359-370.
    Street art is an art form that entails creating public works incorporating the street physically and in their meaning. That physical property is employed as an artistic resource in street art raises two questions. Are street artworks necessarily illegal? Does being illegal change the nature of production and aesthetic appreciation? First, I argue street artworks must be in the street. On my view, both the physical and sociocultural senses of the street can be constitutive of meaning. Second, I argue that (...)
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  37. added 2016-10-26
    Tobyn Demarco (2016). GAL, MICHALLE. Aestheticism: Deep Formalism and the Emergence of Modernist Aesthetics. Bern, Switzerland: Peter Lang AG International Academic Publishers, 2015, 166 Pp., 6 Color Illus., $60.95 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 74 (4):425-428.
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  38. added 2016-10-26
    Antony Aumann (2016). A Moral Problem for Difficult Art. Journal of Aesthetics and Art Criticism 74 (4):383-396.
    Works of art can be difficult in several ways. One important way is by making us face up to unsettling truths. Such works typically receive praise. I maintain, however, that sometimes they deserve moral censure. The crux of my argument is that, just as we have a right to know the truth in certain contexts, so too we have a right not to know it. Provided our ignorance does not harm or seriously endanger others, the decision about whether to know (...)
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  39. added 2016-10-26
    Thomas Adajian (2016). WOLTERSTORFF, NICHOLAS. Art Rethought: The Social Practices of Art. Oxford University Press, 2015, Xvi + 332 Pp., $50.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (4):415-418.
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  40. added 2016-10-26
    Nick Riggle (2016). MONTANO, ULIANOV. Explaining Beauty in Mathematics: An Aesthetic Theory of Mathematics. New York: Springer, 2014, 220 Pp., $103.20 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (4):418-420.
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  41. added 2016-10-26
    Dabney Townsend (2016). BATTEUX, CHARLES. The Fine Arts Reduced to a Single Principle. Trans. James O. Young. Oxford University Press, 2015, Lxxx + 151 Pp., $70.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 74 (4):413-415.
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  42. added 2016-10-26
    John Kulvicki (2016). Timeless Traces of Temporal Patterns. Journal of Aesthetics and Art Criticism 74 (4):335-346.
    Long-exposure photographs present distinctive philosophical challenges. They do not quite look like things in motion. Experiences of such photos take time, but not in a way that mimics the time of the motion depicted. In fact, it would not be off base to worry that these photos fail, strictly speaking, to depict motion or things-in-time. And if they fail to depict motion, then it is an interesting question what, if anything, they succeed in depicting. These timeless traces of temporal patterns (...)
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  43. added 2016-10-26
    Emine Hande Tuna (2016). A Kantian Hybrid Theory of Art Criticism: A Particularist Appeal to the Generalists. Journal of Aesthetics and Art Criticism 74 (4):397-411.
    Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...)
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  44. added 2016-10-24
    John Gibson (2016). A Puzzle of Poetic Expression. The Philosophers' Magazine 74 (3):56-62.
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  45. added 2016-10-20
    Elisa Caldarola (2016). Review of Alberto Voltolini's "A Syncretistic Theory of Depiction". [REVIEW] Notre Dame Philosophical Reviews 226.
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  46. added 2016-10-20
    Elisa Caldarola & Matteo Plebani (2016). Caricatures and Prop Oriented Make-Believe. Ergo, an Open Access Journal of Philosophy 3.
    A caricature can reveal an aspect of its subject that a more faithful representation would fail to render: by depicting a slow and clumsy person as a monkey one can point out such qualities of the depicted subject, and by depicting a person with quite big ears as a person with enormous ears one can point out that the depicted person has rather big ears. How can a form of representation that is by definition inaccurate be so representationally powerful? Figurative (...)
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  47. added 2016-10-20
    Elisa Caldarola (2015). Comments on Jerrold Levinson's "Towards a Non-Minimalist Understanding of Aesthetic Experience". Comparative Studies in Modernism 6.
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  48. added 2016-10-20
    Elisa Caldarola (2015). Ugo Nespolo: a proposito di rappresentazioni. Rivista di Estetica 55 (58).
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  49. added 2016-10-20
    Elisa Caldarola (2013). "Arte E Illusione" di Ernst H. Gombrich. Una Lettura Filosofica. Cleup.
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  50. added 2016-10-20
    William D. Melaney (2012). Heidegger’s Allegory of Reading: On Nietzsche and the Tradition. In Alfred Denker Babette Babich (ed.), Hiedegger und Nietzsche. Brill 190-98.
    Heidegger's interpretation of Nietzsche has been canonized in the philosophical tradition as an almost perfect demonstration of how the forgetfulness of Being continues the dominant positions of modern metaphysics. However, the role of reading in the interpretative process casts a different light on Heidegger's approach to Nietzsche and his relationship to the philosophical tradition. This paper is concerned with three aspects of Heidegger's work, namely, (i) the role of Kant and Schopenhauer in Nietzsche's critique of metaphysics; (ii) Nietzsche's 'inversion' of (...)
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