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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.
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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.
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  6. James S. Ackerman (1979). On Judging Art Without Absolutes. Critical Inquiry 5 (3):441.
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  7. James S. Ackerman (1974). Transactions in Architectural Design. Critical Inquiry 1 (2):229.
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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 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 1991 (87):79-84.
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  12. T. W. Adorno (1988). The Aging of the New Music. Telos 1988 (77):95-116.
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  13. T. W. Adorno (1980). Music and the New Music: In Memory of Peter Suhrkamp. Telos 1980 (43):124-138.
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  14. T. W. Adorno (1978). On the Social Situation of Music. Telos 1978 (35):128-164.
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  15. T. W. Adorno (1977). Music and Technique. Telos 1977 (32):79-94.
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  16. T. W. Adorno (1976). Alienated Masterpiece: The Missa Solemnis (1959). Telos 1976 (28):113-124.
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  17. T. W. Adorno (1974). Lyric Poetry and Society. Telos 1974 (20):56-71.
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  18. Theodor Adorno (2011). Tradução: Fragmento sobre música e linguagem. Trans/Form/Ação 31 (2).
    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. Theodor Adorno (2008). Fragmento Sobre Música E Linguagem. Trans/Form/Ação 31 (2).
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  20. 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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  21. 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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  22. 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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  23. 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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  24. Kofi Agawn (1992). Representing African Music. Critical Inquiry 18 (2):245.
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  25. Siraj Ahmed (2013). Notes From Babel: Toward a Colonial History of Comparative Literature. Critical Inquiry 39 (2):296-326.
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  26. 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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  27. 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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  28. Roxana Albu (2002). Force of Imagination. The Sense of the Elemental. Studia Phaenomenologica 2 (3-4):221-226.
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  29. Jesús Alcalde & Javier Reyes (2005). La plurinformación televisiva. Telos 62:64-70.
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  30. Harold Alderman (1977). The Place of Comedy. Man and World 10 (2):152-172.
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  31. Hubert G. Alexander (1974). The Paradox of the Universal in Art. Southwestern Journal of Philosophy 5 (1):49-58.
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  32. 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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  33. C. F. Alford (1981). The Aesthetic Dimension. Toward a Critique of Marxist Aesthetics. Telos 1981 (48):179-188.
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  34. Paul K. Alkon (1975). Visual Rhetoric in "The Autobiography of Alice B. Toklas". Critical Inquiry 1 (4):849.
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  35. 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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  36. David B. Allison (2005). Nietzsche's Aesthetic Taste for Moral Metacritique. Symposium: The Canadian Journal of Continental Philosophy 9 (2):153-167.
  37. Emmanuel Alloa (2011). Das durchscheinende Bild. Konturen einer medialen Phänomenologie. diaphanes.
  38. Alain Badiou (2012). Francuski filozof w odpowiedzi polskiemu poecie. Kronos 1 (1).
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  39. Alain Badiou (2010). Art and Philosophy. In Christopher Want (ed.), Philosophers on Art From Kant to the Postmodernists: A Critical Reader. Columbia University Press.
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  40. Alain Badiou (2005). Handbook of Inaesthetics. Stanford University Press.
    Didacticism, romanticism, and classicism are the possible schemata for the knotting of art and philosophy, the third term in this knot being the education of subjects, youth in particular. What characterizes the century that has just come to a close is that, while it underwent the saturation of these three schemata, it failed to introduce a new one. Today, this predicament tends to produce a kind of unknotting of terms, a desperate dis-relation between art and philosophy, together with the pure (...)
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  41. Jennifer Bajorek (2011). Jane Alexander's Anti-Anthropomorphic Photographs. Angelaki 16 (1):79 - 96.
    This essay sets out from a reading of two photomontage projects by South African artist Jane Alexander, ?Adventure Centre? (2000) and ?Survey: Cape of Good Hope? (2005?09), one of Alexander's ongoing ?survey? projects, and remarks on the overwhelming impulse on the part of critics and interpreters to anthropomorphize the figures appearing in the photomontage images. It goes on to explore the hypothesis that Alexander's work in fact resists or refuses these attempts at anthropomorphization, and that this resistance is connected with (...)
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  42. Zsuzsa Baross (2006). The Future of the Past. Angelaki 11 (1):5 – 14.
    It is foolish to talk about the death of the cinema because cinema is still at the beginning [ d but ] of its investigations … Yes, the cinema if it is not killed by a violent death guards the power of a beginning [ un commencement ]. Deleuze , “ Preface ,” The Time-Image1.
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  43. Rudolph Bauer (2012). Undying and Unborn and Unbound Base of Space and Light. Transmission 1 (Awareness).
    This paper focuses on the base of awareness as space and light.
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  44. Andrew Benjamin (2011). On the Image of Painting. Research in Phenomenology 41 (2):181-205.
    Painting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance—e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion—the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of this paper (...)
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  45. Andrew E. Benjamin (1991). Art, Mimesis, and the Avant-Garde: Aspects of a Philosophy of Difference. Routledge.
    Art, Mimesis and the Avant-Garde explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented. A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon's use of mirrors, (...)
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  46. Rudolf Bernet (2012). Phenomenological and Aesthetic Epoche: Painting the Invisible Things Themselves. In Dan Zahavi (ed.), The Oxford Handbook of Contemporary Phenomenology. Oxford University Press.
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  47. S. L. Bertky (1969). Heidegger's Philosophy of Art. British Journal of Aesthetics 9 (4):353-371.
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  48. Terri Bird (2011). Figuring Materiality. Angelaki 16 (1):5 - 15.
    At the core of conceptual understandings underlying a common-sense comprehension of matter is an assumed opposition of the intelligible and the sensible. Drawing on the writings of Giles Deleuze, Luce Irigaray and Elizabeth Grosz, this essay attempts to rethink the relations of matter through the work of materiality in the context of art. Focusing on the installation COVERS, by Melbourne-based artist Fiona Abicare, this examination argues that a mobilization of the disordering effects of matter instigates an interval. In this passage (...)
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  49. Ernst Bloch (ed.) (1977). Aesthetics and Politics. Nlb.
    Bloch, E. Discussing expressionism.--Lukács, G. Realism in the balance.--Brecht, B. Against Georg Lukács.--Benjamin, W. Conversations with Brecht.--Adorno, T. Letters to Walter Benjamin.--Benjamin, W. Reply.--Adorno, T. Reconciliation under duress.--Adorno, T. Commitment.--Jameson, F. Reflections in conclusion.
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  50. Barbara Bolt (2004). Art Beyond Representation: The Performative Power of the Image. I.B. Tauris.
    Refuting the assumption that art is a representational practice, Bolt's striking argument engages with the work of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative relationship between art and artist. Drawing on themes as diverse as the work of Cezanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel The Picture of Dorian Gray , she challenges the metaphor of light as enlightenment, reconceiving this revealing light as the blinding glare of (...)
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