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  1. Elizabeth Abel (2008). Double Take: Photography, Cinema, and the Segregated Theater. Critical Inquiry 34 (S2):S2 - S20.
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  2. Elizabeth Abel (2004). Mania, Depression, and the Future of Theory. Critical Inquiry 30 (2):336-339.
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  3. Elizabeth Abel (1980). Redefining the Sister Arts: Baudelaire's Response to the Art of Delacroix. Critical Inquiry 6 (3):363.
    Baudelaire's response to Delacroix's art and theories provides a particularly fruitful focus for a study of the new rapport between the former sister arts. There is little similarity between Delacroix's action-filled exotic subjects and Baudelaire's more intimate and private poetry; their arts must therefore be related in some domain apart from content. We are aided in deciphering this domain by Baudelaire's extensive commentary on Delacroix. Moreover, perhaps because of its subtlety, the relationship between these arts has not received the attention (...)
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  4. M. H. Abrams (2009). An Exchange on The Norton Anthology of English Literature and Sean Shesgreen V. Critical Inquiry 35 (4):1079-1080.
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  5. M. H. Abrams (1976). Rationality and Imagination in Cultural History: A Reply to Wayne Booth. Critical Inquiry 2 (3):447.
    In retrospect, I think I was right to compose Natural Supernaturalism by relying on taste, tact, and intuition rather than on a controlling method. A book of this kind, which deals with the history of human intellection, feeling, and imagination, employs special vocabularies, procedures, and modes of demonstration which, over many centuries of development, have shown their profitability when applied to matters of this sort. I agree with Booth that these procedures, when valid, are in a broad sense rational, and (...)
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  6. James S. Ackerman (1979). On Judging Art Without Absolutes. Critical Inquiry 5 (3):441.
    That art historians have felt it necessary to emulate this effort to express personal input can be explained by our need to gain credibility in that aspect of our work that is indistinguishable in method from other historical research: the reconstruction, through documents and artifacts, of past events, conditions, and attitudes. Most of us simply ignore the ambivalence of our position; I cannot recall having heard or read discussions of it, but it is bound to creep out from under the (...)
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  7. James S. Ackerman (1974). Transactions in Architectural Design. Critical Inquiry 1 (2):229.
    It may seem reasonable, even inevitable, that architectural practice should be based on an understanding that architects, like lawyers and doctors, should discover their clients' needs and accommodate them to the best of their abilities. But current discussion within the legal and medical professions of the conflict between service to private individuals who can pay, and to the public who cannot, suggest an expanded or altered definition of professional responsibility. Actually, the conflict between public and private interest may be more (...)
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  8. Jill Petersen Adams (2013). Gerhard Richter: Afterness: Figures of Following in Modern Thought and Aesthetics: Columbia University Press, 2011, ISBN: 0231157703, 272 Pp., $50.00 (Hardcover)(). [REVIEW] Man and World 45 (4):587-592.
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  9. Jill Petersen Adams (2012). Gerhard Richter: Afterness: Figures of Following in Modern Thought and Aesthetics. [REVIEW] Continental Philosophy Review 45 (4):587-592.
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  10. Leslie A. Adelson (1986). The Rise of the Modern German Novel: Crisis and Charisma. Telos: Critical Theory of the Contemporary 1986 (69):190-196.
    The current popularity of the mapping trope, particularly in discussions of postmodernism, might give rise to the impression that the AAA has expanded its sphere of marketability: all those readers lost in the wilderness of Western civilization need a good map to find their way to meaning and, with any luck, to history. Berman dons the cap of cartographer-chauffeur and steers us with great skill on a breathtaking tour through the landscape of the German novel from 1848 to 1947. We (...)
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  11. T. W. Adorno (1991). Marginalia on Mahler (On the 25th Anniversary of His Death, May 18, 1936). Telos: Critical Theory of the Contemporary 1991 (87):79-84.
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  12. T. W. Adorno (1988). The Aging of the New Music. Telos: Critical Theory of the Contemporary 1988 (77):95-116.
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  13. T. W. Adorno (1980). Music and the New Music: In Memory of Peter Suhrkamp. Telos: Critical Theory of the Contemporary 1980 (43):124-138.
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  14. T. W. Adorno (1978). On the Social Situation of Music. Telos: Critical Theory of the Contemporary 1978 (35):128-164.
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  15. T. W. Adorno (1977). Music and Technique. Telos: Critical Theory of the Contemporary 1977 (32):79-94.
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  16. T. W. Adorno (1976). Alienated Masterpiece: The Missa Solemnis (1959). Telos: Critical Theory of the Contemporary 1976 (28):113-124.
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  17. T. W. Adorno (1974). Lyric Poetry and Society. Telos: Critical Theory of the Contemporary 1974 (20):56-71.
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  18. Theodor Adorno (2011). Tradução: Fragmento sobre música e linguagem. Trans/Form/Ação 31 (2):167-171.
    A música assemelha-se à linguagem. Expressões como idioma musical e entonação musical não são nenhuma metáfora. Contudo, música não é linguagem. Sua similitude com a linguagem indica o caminho para o intrínseco, bem como para o vago. Quem toma a música ao pé da letra como linguagem é induzido ao erro.
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  19. Filipa Afonso (2011). A beleza no ritmo pseudo-dionisiano da processão/conversão. Trans/Form/Ação 33 (2).
    No contexto da Metafísica Medieval, a «beleza» foi pensada como um conceito ambíguo: ora atribuído a Deus, ora atribuído ao Mundo. O propósito deste artigo é clarificar o sentido desta ambiguidade no âmbito da filosofia do Pseudo-Dionísio Areopagita. Se, portanto, o conceito de «beleza» é, em primeiro lugar, despojado do seu carácter sensível e mundano, para ser apropriado à natureza divina, ele é, num segundo momento, aposto à própria criação, de forma a designar a manifestação visível da beleza transcendente e (...)
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  20. Giorgio Agamben (2011). Nymphs. In Jacques Khalip & Robert Mitchell (eds.), Releasing the Image: From Literature to New Media. Stanford University Press
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  21. Giorgio Agamben (2010). Privation is Like a Face. In Christopher Want (ed.), Philosophers on Art From Kant to the Postmodernists: A Critical Reader. Columbia University Press
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  22. Giorgio Agamben (1999). The Man Without Content. Stanford University Press.
    In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation. He argues, however, that Hegel by no means proclaimed the 'death of art' (as many still imagine) but proclaimed rather the indefinite continuation of art in a 'self-annulling' mode. With astonishing breadth and originality, he probes the meaning, aesthetics, and historical consequences of that self-annulment. He argues that (...)
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  23. Kofi Agawn (1992). Representing African Music. Critical Inquiry 18 (2):245.
    Among the fields of music study, ethnomusicology has wrestled most self-consciously with matters of representation. Since its inception in the late nineteenth century as vergleischende Musikwissenschaft [comparative musicology] and throughout its turbulent history, ethnomusicology has been centrally and vitally concerned with at least three basic issues and their numerous ramifications. First is the problem of locating disciplinary boundaries: is ethnomusicology a subfield of musicology, does it belong under anthropology or ethnology, or is it an autonomous discipline?1 Second is the problem (...)
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  24. Siraj Ahmed (2013). Notes From Babel: Toward a Colonial History of Comparative Literature. Critical Inquiry 39 (2):296-326.
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  25. Maimaitiming Aila (2009). "Nothing but Dust": A Philosophical Approach to the Problem of Identity and Anonymity in Samuel Beckett's Trilogy. Philosophical Forum 40 (1):127-147.
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  26. Me Monica Aiub (2011). A arte de escutar. Revista de Teologia (Reveleteo). Issn 2177-952x 5 (8):41-47.
    O presente artigo trata da arte de escutar, apontando sua carência em nosso cotidiano, assim como alguns dos obstáculos a seu cultivo. Demonstra o quanto a filosofia clínica se faz necessária devido a tal carência, e levanta a hipótese de um papel relevante para a escuta atenta ao trabalho do sacerdote, assim como a possibilidade dele, através de seu trabalho, suscitá-la na comunidade.
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  27. Roxana Albu (2002). Force of Imagination. The Sense of the Elemental. Studia Phaenomenologica 2 (3-4):221-226.
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  28. Jesús Alcalde & Javier Reyes (2005). La plurinformación televisiva. Telos: Critical Theory of the Contemporary 62:64-70.
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  29. Harold Alderman (1977). The Place of Comedy. Man and World 10 (2):152-172.
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  30. Hubert G. Alexander (1974). The Paradox of the Universal in Art. Southwestern Journal of Philosophy 5 (1):49-58.
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  31. D. Rita Alfonso (2009). Permeability and Impermeability in John Cameron Mitchell's Shortbus. Radical Philosophy Review 12 (1/2):121-136.
    This essay is about experience, and not only about ideas. I have been drawn to write about John Cameron Mitchell’s Shortbus for a number of reasons: First, I find his work to be part of a new turn in LGBT art and media that take queer lives as a point of departure, and not only as narrative focus, for their work. These areworks that are not just about being queer, but cross the line into being queer works. Of those who (...)
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  32. C. F. Alford (1981). The Aesthetic Dimension. Toward a Critique of Marxist Aesthetics. Telos: Critical Theory of the Contemporary 1981 (48):179-188.
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  33. Paul K. Alkon (1975). Visual Rhetoric in "The Autobiography of Alice B. Toklas". Critical Inquiry 1 (4):849.
    Past, present, and future are reversed in the reader's encounter with the illustrations selected by Gertrude Stein for her Autobiography of Alice B. Toklas.1 After the table of contents there is a table of illustrations that encourages everyone to look at the pictures before they begin reading. During that initial examination, the illustrations forecast what is to be discovered in the text. Expectations are aroused by photographs showing Gertrude Stein in front of the atelier door, rooms hung with paintings, Gertrude (...)
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  34. Eric Alliez (2012). Diagrammatic Agency Versus Aesthetic Regime of Contemporary Art: Ernesto Neto's Anti-Leviathan. Deleuze Studies 6 (1):6-26.
    Ernesto Neto's installation at the Panthéon in Paris, Leviathan Toth (2006), brings us into a semiotics of intensities that does not belong to the ‘aesthetic regime’ as described by Jacques Rancière but rather to a Diagrammatic Agency of Contemporary Art. In this case study, the latter is constructed after Deleuze and Guattari – from a politics of the Body without Organs critically and clinically identified to a Body without Image.
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  35. David B. Allison (2005). Nietzsche's Aesthetic Taste for Moral Metacritique. Symposium: The Canadian Journal of Continental Philosophy 9 (2):153-167.
  36. Emmanuel Alloa (2011). Das durchscheinende Bild. Konturen einer medialen Phänomenologie. Diaphanes.
  37. Ferdinand AlquiÉ (1975). Le Surréalisme et l'Art. Les Etudes Philosophiques 2:149.
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  38. Charles Altieri (2007). Tractatus Logico‐Poeticus. Critical Inquiry 33 (3):527-542.
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  39. Charles Altieri (1988). John Ashbery and the Challenge of Postmodernism in the Visual Arts. Critical Inquiry 14 (4):805.
    It is an irony perhaps worthy of John Ashbery that the critics who made his reputation as our premier contemporary poet have virtually ignored the innovations which in fact make his work distinctively of our time. The received terms show us how Ashbery revitalizes the old wisdom of Keats or the virile fantasies of Emersonian strength but they do so at the cost of almost everything about the work deeply responsive to irreducibly contemporary demands on the psyche. Such omissions not (...)
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  40. Paul Allen Anderson (2006). The World Heard: Casablanca and the Music of War. Critical Inquiry 32 (3):482-515.
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  41. Dudley Andrew (2009). {The Core and the Flow of Film Studies}. Critical Inquiry 35 (4):879-915.
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  42. Emily Apter (2003). GlobalTranslatio:The “Invention” of Comparative Literature, Istanbul, 1933. Critical Inquiry 29 (2):253-281.
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  43. D. W. Arentz (1977). Philosophy and the Novel. Southwestern Journal of Philosophy 8 (1):174-175.
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  44. D. W. Arentz (1977). Philosophy and the Novel: Philosophical Aspects of Middlemarch, Anna Karenina, The Brothers Karamazov, A la Recherche du Temps Perdu, and of the Methods of Criticism. [REVIEW] Southwestern Journal of Philosophy 8 (1):174-175.
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  45. Rudolf Arnheim (1987). Art Among the Objects. Critical Inquiry 13 (4):677.
    With the emergence of man from nature art emerged among the objects. There was nothing to distinguish or exalt it in the beginning. Art did not separate one kind of thing from the others but was rather a quality common to them all. To the extent to which things were made by human beings, art did not necessarily call for the skill of specialists. All things took skill, and almost everybody had it.This is the way an essayist in the eighteenth (...)
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  46. Rudolf Arnheim (1980). A Plea for Visual Thinking. Critical Inquiry 6 (3):489.
    The habit of separating the intuitive from the abstractive functions, as they were called in the Middle Ages, goes far back in our tradition. Descartes, in the sixth Meditation, defined man as "a thing that thinks," to which reasoning came naturally; whereas imagining, the activity of the senses, required a special effort and was in no way necessary to the human nature or essence. The passive ability to receive images of sensory things, said Descartes, would be useless if there did (...)
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  47. Rudolf Arnheim (1974). On the Nature of Photography. Critical Inquiry 1 (1):149.
    When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...)
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  48. Jonathan Auerbach (2000). Chasing Film Narrative: Repetition, Recursion, and the Body in Early Cinema. Critical Inquiry 26 (4):798.
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  49. Amédée Ayfre (1957). L'œuvre Cinématographique: Aliénation Ou Médiation? Les Etudes Philosophiques 12 (3):325 - 330.
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  50. Robert B. Pippin (2009). What Is a Western? Politics and Self-Knowledge in John Ford'sThe Searchers. Critical Inquiry 35 (2):223-253.
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