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  1. Jorge Rendón Alarcón (2011). Reseña de "Hegel, pensador de la actualidad. Ensayos sobre la fenomenología Del espíritu Y otros textos" de Vanessa Lemm Y Juan ormeño karzulovic (eds.). Signos Filosóficos 13 (26):171-175.
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  2. Armen Avanessian (2010). Phänomenologie Ironischen Geistes: Ethik, Poetik Und Politik der Moderne. Fink.
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  3. Julio Manso Barrios (1999). Divagación apasionada sobre Pío Baroja. Anales Del Seminario de Historia de la Filosofía 16:199.
    Me irrita la asepsia que ostentan algunos estudiosos, derivada del temor a asumir riesgos intelectuales. Contra esta clase de mediocridad expongo el legado de una impregnación estético-vital, que, en mi modesta opinión, constituye el modo sincero de revelar la calidad de un espíritu. Se notará un efecto de vasos comunicantes. Por ello, dispuesto a tratar sobre la personalidad de don Pío Baroja, lo haré compartiendo su profunda emoción de ser, cota que excede el alcance de lo anecdótico, de lo chismográfico (...)
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  4. Fernando R. De Moraes Barros (2012). Ao som do emaranhamento: a música e o discurso filosófico sobre as artes. Kriterion 53 (125):195-229.
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  5. P. Bertetto (1986). La scrittura e la morte. Sulla poetica di Michel Leiris in Filosofia e poesia. Philosophie et poésie. Rivista di Estetica 26 (22):67-79.
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  6. Silvana Borutti (2006). Filosofia Dei Sensi: Estetica Del Pensiero Tra Filosofia, Arte E Letteratura. R. Cortina.
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  7. Massimo Cacciari (1986). Interpretazione di Michelstaedter in Filosofia e poesia. Rivista di Estetica 26 (22):21-36.
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  8. NoË Carroll & L. (2009). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  9. NoË Carroll & L. (2009). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  10. NoË Carroll & L. (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  11. NoË Carroll & L. (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  12. NoË Carroll & L. (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  13. NoË Carroll & L. (2007). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  14. NoË Carroll & L. (2007). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  15. Noël Carroll (2014). Humour: A Very Short Introduction. Oup Oxford.
    Humour is a universal feature of human life. In this Very Short Introduction Noel Carroll considers the nature and value of humour, from its leading theories and its relation to emotion and cognition, to ethical questions of its morality and its significance in shaping society.
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  16. Noël Carroll (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  17. Curtis L. Carter (2008). Symbol and Function in Contemporary Architecture. Proceedings of the Xxii World Congress of Philosophy 1:15-25.
    The focus here will be on the tension between architecture’s symbolic role and its function as a space to house and present art. ‘Symbolic’ refers both to a building as an aesthetic or sculptural form and secondly to its role in expressing civic identity. ‘Function’ refers to the intended purpose or practical use apart from its role as a form of art. As an art form, it serves important symbolic purposes; its practical purposes are linked to serving individual and community (...)
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  18. Pablo García Castillo (2010). Bello es lo que uno ama. Anales Del Seminario de Historia de la Filosofía 27:255-275.
    Desde la poesía lírica griega hasta la estética de Plotino, puede contemplarse la visión de la belleza como el objeto del amor y del deseo del Bien. Platón no alcanza una definición de lo bello en los diálogos juveniles, pero expresa de forma brillante su concepción del amor y de la belleza en el Banquete y en el Fedro. Y Plotino, interpretando estos textos platónicos, eleva el concepto de la belleza hasta la contemplación gozosa del Bien. Para él, la gracia (...)
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  19. Augusto Castro (2013). Repensando la tradición nacional. Estudios sobre la filosofia reciente en el Perú. Areté. Revista de Filosofía 3 (2):327-333.
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  20. Nigel Coates (2012). Narrative Architecture. Wiley.
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  21. Simon Critchley (2002). Did You Hear the One About the Philosopher Writing a Book on Humour? Think 1 (2):103.
    Simon Critchley, Professor of Philosophy at the University of Essex, investigates humour. And tells some pretty good jokes.
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  22. José Manuel Díaz de Bustamante (1998). E por ende dix sabio Marciano. Apostilla a un aspecto de la recepción de Virgilio y la tradición textual de Andresa Capellans. Humanitas 50:819-826.
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  23. Jorge Aurelio Díaz (2013). Madanes, Leiser. Una alegría secreta. Ensayos de filosofía moderna. Ideas Y Valores 62 (151):253-257.
    El presente trabajo investiga las tesis sobre el poder civil de Alonso de la Veracruz que buscan incorporar en la comunidad política española a los habitantes autóctonos del Nuevo Mundo, tesis que suelen relacionarse con F. de Vitoria y el tomismo español, y que últimamente son consideradas parte del republicanismo novohispano elaborado desde la periferia americana. Se busca demostrar que su propósito era aplicar una teoría de derechos naturales, sin que ello implique participación política de los indios americanos. Se analiza (...)
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  24. Lars Elleström (2012). The Paradoxes of Mail Art. Cultura 9 (2):103-122.
    This article aims to show that so-called Mail Art (art distributed via the international postal system) is based on five paradoxes. These paradoxes, which correlateto how Mail Art is distributed and exhibited by means of changing technologies, its aesthetics, its democratic ideals, and its transnational character, explain howMail Art has emerged and been constructed as an artistic medium on the stage of world cultures. While the paradoxes of Mail Art are specific for this particular medium, I argue that all media (...)
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  25. Carmen Elisa Escobar María (2008). Tragedy, Comedy and Humor in the Psychoanalysis. Eidos 8:136-158.
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  26. Josep Lluis Blasco Estellés (1972). El Lenguaje Común: Ensayos de Filosofía Analítica, de VC Chappell. Teorema: Revista Internacional de Filosofía 2 (6):141-143.
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  27. Barie Fez-Barringten (2012). Architecture: The Making of Metaphors. Cambridge Scholars Publishing.
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  28. Jill Franklin, T. A. Heslop & Christine Stevenson (eds.) (2012). Architecture and Interpretation: Essays for Eric Fernie. Boydell Press.
    Essays centred on the methods, pleasures, and pitfalls of architectural interpretation.
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  29. Hg Gadamer (1986). Filosofia e poesia in Filosofia e poesia. Rivista di Estetica 26 (22):3-11.
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  30. Ilia Galán (2011). Filosofía Del Caos, Estética y Otras Artes. Dykinson.
    Pensamiento atrevido y nuevo, visión abierta, donde el lector hallará cuestiones clave del conocimiento, pero también del confundir y fundir, metafísica, física, antropología, sociedad. Desde la psicología a la reunión de los hombres en ciudades, la política, todo penetrado de la mirada estética, como si el saber fuera una de las bellas artes. Cuestiones como la Orden del Temple, la francmasonería, el ciber-arte, la clonación de obras artísticas o las bibliotecas digitales se convierten en ejemplos para una filosofía alternativa. Ilia (...)
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  31. Ag Gargani (1986). Un percorso di ricerca nella scrittura: dai concetti alle immagini in Filosofia e poesia. Rivista di Estetica 26 (22):13-19.
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  32. James Gillray, Thomas Wright, R. H. Evans, Henry George Bohn & Charles Whiting (1847). The Works of James Gillray From the Original Plates, with the Addition of Many Subjects Not Before Collected. Printed for Henry G. Bohn, York Street, Covent Garden, by Charles Whiting.
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  33. Miguel Giusti (2013). Ensayos de filosofía del Derecho. Areté. Revista de Filosofía 1 (2):425-432.
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  34. S. Givone (1986). Poesia e conoscenza in Filosofia e poesia. Philosophie et poésie. Rivista di Estetica 26 (22):45-56.
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  35. Max Gottschlich (forthcoming). Die Begründung der Kunst als Vermittlung des Noetischen und Aisthetischen bei Platon. Archiv für Begriffsgeschichte 57.
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  36. Max Gottschlich (2002). Musik und Philosophie. Zur Frage einer philosophischen Grundlegung der Musikwissenschaft [Philosophy and Music. On the Philosophical Foundation of Musicology]. In Martin Czernin (ed.), Gedenkschrift für Walter Pass. Schneider. 35 – 48.
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  37. Rui-Hong Guo (1988). Jokes, Transgression, and Laughter. Semiotics:553-558.
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  38. Stephen Halliwell (2005). Greek Laughter and the Problem of the Absurd. Arion 13 (2).
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  39. J. R. Hamilton (2012). The Performing Arts. British Journal of Aesthetics 52 (2):216-219.
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  40. Karsten Harries (1997). The Ethical Function of Architecture. Monograph Collection (Matt - Pseudo).
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  41. Hiromichi Hosoma (2009). Preliminary Notes on the Sequential Organization of Smile and Laughter. In Hattori (ed.), New Frontiers in Artificial Intelligence. Springer. 288--293.
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  42. Andrey Ivanov (2012). St. Bernard: Apology and Architectural Art. Trans/Form/Ação 35 (SPE):179-186.
    Este artigo busca expor as críticas de Bernardo de Claraval às superfluidades humanas no texto da Apologia, especialmente aquelas referentes à arte arquitetural. Em segundo lugar, procura analisar as implicações estéticas do ascetismo cisterciense e bernardiano. As críticas de Bernardo exercem uma influência decisiva na ornamentação e fazem nascer uma nova arquitetura. This paper is to expose the criticism of human superfluities at Bernard of Clairvaux in the text of the Apology, especially those related to architectural art. Secondly, analyzes the (...)
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  43. AeJu Lee (2008). 춤과 마음. Proceedings of the Xxii World Congress of Philosophy 1:317-321.
    Dance is the gesture of life. In other words, dance is a moving gesture to attain life's aim. As people have will to accomplish their aim, the will of life is expressed in dancing. Dance comes, therefore, from the heart as it arises from the flow of mind. The visible dancing feature begins from invisible mind. While life is made of flesh and mind, dance is the gesture of life containing both. Culture is from people's life. As the ground of (...)
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  44. John Lippitt (2005). Is a Sense of Humour a Virtue? The Monist 88 (1):72-92.
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  45. J. S. Lockard, C. E. Fahrenbruch, J. L. Smith & C. J. Morgan (1977). Smiling and Laughter: Different Phyletic Origins? Bulletin of the Psychonomic Society 10 (3):183-186.
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  46. Dominic McIver Lopes (forthcoming). Aesthetics of Interaction in Digital Art. British Journal of Aesthetics:ayu040.
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  47. Ciprian Lupse (2010). Estetica Arhitecturii Moderne Si Productia Artistica/ The Aesthetics of Modern Architecture and the Artistic Production. Journal for the Study of Religions and Ideologies 2 (4):75-83.
    The period that has begun after the last quarter of the 19th century brings an open conflict between the ‘histori- cal’ aspect of modernity and the ‘aesthetical’ one. The situation raises a question about the modern architectural shape’s dependency on architectonic function. Utility, production, profit become the keywords of the ideology; new social utopias and their reflection on the architecture- for-the masses projects emerge. This leads to the urban alienation of the modern man, in spite of the well-intended architectural functionalism (...)
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  48. Vittorio Magnago Lampugnani (2011). Urban Design as Craft: Eleven Conversations and Seven Projects 1999-2011 = Stadt Bau Als Handwerk: Elf Gespräche Und Sieben Projekte 1999-2011. [REVIEW] Gta Verlag.
    In eleven pointed and sometimes provocative conversations, architect and professor of architecture, Vittorio Magnago Lampugnani uses a critique of contemporary urban planning to develop principles for reestablishing the discipline. In seven projects designed with these principles in mind, he shows how his vigorous reinterpretation of the field can be implemented and what a fresh start can look like. Magnago Lampugnani envisages a calm modern city that can measure itself against the historic city, while emphasizing sustainability and providing a home for (...)
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  49. Katya Mandoki (2006). Practicas Estéticas E Identidades Sociales: Prosaica Ii. Siglo Xxi.
    Desde una perspectiva matricial de la cultura, la autora aborda el estudio de las identidades sociales en su dimensión estética. La presentación dramatúrgica de la persona propuesta por Goffman adquiere un perfil más concreto al enfocar a las identidades a partir de sus procesos de gestación y proyección, pues nunca brotan en el vacío sino a través de matrices que ineludiblemente las conforman. Mandoki explora identidades colectivas religiosas como la cristiana, la musulmana y la judía, así como prácticas familiares, escolares, (...)
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  50. Antoni Marí (2010). La Voluntad Expresiva: Ensayos Para Una Poética. Galaxia Gutenberg.
    Un hilo tenue engarza los ensayos reunidos en este volumen y un leit motiv como el de un bajo continuo surge y se oculta, jugando entre las páginas. El testimonio de Paul Valéry nos ofrece el tema del que este libro constituiría unas variaciones: ®El.
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