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  1. Virgil C. Aldrich (1971). Form in the Visual Arts. British Journal of Aesthetics 11 (3):215-226.
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  2. Derek Allan (2104). André Malraux. In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). 239-243 (Vol 4).
    An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.
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  3. Derek Allan (2010). Art: A Rival World - An Aspect of André Malraux's Theory of Art. In Jan Lloyd Jones & Julian Lamb (eds.), Art and Authenticity. Australian Scholarly Publishing.
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  4. Derek Allan (2009). 'Reckless Inaccuracies Abounding': André Malraux and the Birth of a Myth. Journal of Aesthetics and Art Criticism 67 (2):147-158..
    After an initial period of popularity in the 1960s and 1970s, André Malraux’s works on the theory of art, "The Voices of Silence" and "The Metamorphosis of the Gods", lapsed into relative obscurity. A major factor in this fall from grace was the frosty reception given to these works by a number of leading art historians, including E.H. Gombrich, who accused Malraux of an irresponsible approach to art history and of "reckless inaccuracies". This essay examines a representative sample of the (...)
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  5. Derek Allan (2007). Art, Time and Metamorphosis. In Jan Lloyd Jones (ed.), Art and Time. Australian Scholarly Publishing. 1.
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  6. Philip Alperson (ed.) (1992). The Philosophy of the Visual Arts. Oxford University Press.
    Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the (...)
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  7. Katerina Bantinaki (2010). Pictorial Perception as Twofold Experience. In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. Oup Oxford.
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  8. Michael Boylan, Denise Inge, Frederic Jameson, Scott Barry Kaufman, James C. Kaufman, Dominic Mciver Lopes, Jean-Francois Lyotard, Adrian Pabst, Angus Paddison & Fiona Price (2010). BENTON, MICHAEL. Literary Biography An Introduction.(London: Wiley-Blackwell). 2009. Pp. 280.£ 60.00 (Hbk). BERGMANN, SIGURD. In the Beginning is the Icon: A Liberative Theology of Images, Visual Arts and Culture.(London: Equinox Publishing Limited). 2009. Pp. 256.£ 50.00 (Hbk). [REVIEW] British Journal of Aesthetics 50 (1):119.
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  9. David Brett (2005). Rethinking Decoration: Pleasure and Ideology in the Visual Arts. Cambridge University Press.
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  10. Elisa Caldarola (2015). Rappresentazione pittorica. Aphex 11.
    Le immagini sono rappresentazioni visive: quello che mostrano ai nostri occhi è rilevante per la comprensione di ciò che rappresentano. Le rappresentazioni pittoriche sono immagini che rappresentano visivamente aspetti visibili di altri oggetti: per questo motivo, ci sembra spesso che queste immagini assomiglino agli oggetti che rappresentano, ci sembra di riconoscere tali oggetti guardando le immagini che li rappresentano e può anche capitarci che ci sembri di avere un'esperienza degli oggetti rappresentati attraverso l'immagine che li rappresenta. Potrebbe però anche darsi (...)
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  11. Tanner Capps (2012). In the Beginning Is the Icon: A Liberative Theology of Images, Visual Arts, and Culture by Bergmann, Sigurd. Journal of Aesthetics and Art Criticism 70 (2):241-242.
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  12. Paul Carter (2004). Material Thinking: The Theory and Practice of Creative Research. Melbourne University Publishing.
    This intimate account of how ideas get turned into artwork—including dance performance, film, sound installation, sculpture, and painting—looks at how the material thinking that art embodies produces new understandings about individuals, their histories, and the cultures they inhabit. Discussing the philosophy of signs (images, text, and their interaction), the psychology of visual perception, and the overarching notion of mythopoeic place-making, this intellectually wide-ranging and anecdotally narrated primer provides a fresh perspective to the concept of inventing. All active practitioners in the (...)
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  13. Madjid Chachour, LES CONDITIONS DE L'ECRITURE SUR L'HABITER. LE DEFI DE DEUX DISCOURS SAVANTS : L'ARCHITECTURE ET LA PHILOSOPHIE.
    Les vertus de l’écrit sur l’oîkos (l’habitation chez les grecques) ou les récits du Domus (l’habitation chez les romains) et les conditions dont ces derniers leurs favorisent l’écriture posent l’hypothèse sur la nature des relations qui existent entre l'expérience de l’habiter et sa sémantique spatiale, l’écrit des philosophes contemporains dans ce domaine est, cependant convergeant vers un savoir qui s’articule au niveau de la configuration d’un seuil interprétatif très complexe. En effet, en tant que précurseurs dans la compréhension de la (...)
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  14. Krzysztof Cichoń (2001). Ypostesij, Metron, Nohema. Three Approaches to Representing Time in Visual Arts. Art Inquiry. Recherches Sur les Arts 3:68-90.
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  15. Paul Crowther (2010). Phenomenology of the Visual Arts (Even the Frame). Stanford University Press.
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  16. Johan de Smedt & Helen de Cruz (2011). A Cognitive Approach to the Earliest Art. Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  17. Sophia Delza (1971). A Picture of the Art of Face Painting and Make-Up in the Classical Chinese Theatre. Journal of Aesthetics and Art Criticism 30 (1):3-17.
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  18. John Dilworth (2003). Pictorial Orientation Matters. British Journal of Aesthetics 43 (1):39-56.
    important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast (‘Artworks versus Designs’, British Journal of Aesthetics, vol. 41, no. 4 [October 2001]), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist—which also shows that such artworks cannot be types, since they share a common token. The investigation also raises some (...)
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  19. Andreas Dorschel (2009). Metaphysisch malen: Philosophie und Bild bei Giorgio de Chirico. In Kunst und Wissen in der Moderne. Böhlau. 123-132.
    ‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a subtle artistic oeuvre.
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  20. A. W. Eaton (2003). Where Ethics and Aesthetics Meet: Titian's Rape of Europa. Hypatia 18 (4):159 - 188.
    Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.
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  21. Andreas Elpidorou (forthcoming). Seeing the Impossible. Journal of Aesthetics and Art Criticism.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections.
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  22. Andreas Elpidorou (2010). Imagination in Non-Representational Painting. In Jonathan Webber (ed.), Reading Sartre: On Phenomenology and Existentialism. Routledge.
  23. Joerg Fingerhut, Sabine Flach & Jan Söffner (2011). Synaesthesia and Kinaesthetics. Peter Lang.
    A myriad of sensations inform and direct us when we engage with the environment. To understand their influence on the development of our habitus it is important to focus on unifying processes in sensing. This approach allows us to include phenomena that elude a rather narrow view that focuses on each of the five discrete senses in isolation. One of the central questions addressed in this volume is whether there is something like a sensual habitus, and if there is, how (...)
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  24. Daniel Gilman (1994). Pictures in Cognition. Erkenntnis 41 (1):87 - 102.
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  25. Chrysoula Gitsoulis (2012). Wittgenstein and Surrealism. Topics in Philosophy: Philosophical Methodology 13 (1):74-84.
    There are two aspects to Wittgenstein’s method of deconstructing pseudo-philosophical problems that need to be distinguished: (1) describing actual linguistic practice, and (2) constructing hypothetical ‘language-games’. Both methods were, for Wittgenstein, indispensable means of clarifying the ‘grammar’ of expressions of our language -- i.e., the appropriate contexts for using those expressions – and thereby dissolving pseudo-philosophical problems. Though (2) is often conflated with (1), it is important to recognize that it differs from it in important respects. (1) can be seen (...)
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  26. Michael Grenfell (2007). Art Rules: Pierre Bourdieu and the Visual Arts. Berg.
    Pierre Bourdieu is now recognized as one of the key contemporary critics of culture and the visual arts. Art Rules analyses Bourdieu's work on the visual arts to provide the first overview of his theory of culture and aesthetics. Bourdieu's engagement with both postmodernism and the problem of aesthetics provides a new way of analyzing the visual arts. His interest is in how artistic fields function and the implications their processes have for art and artistic practice. Art Rules applies Bourdieu's (...)
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  27. Mark Hannam, The Sight of Death.
    A review of T J Clark's "The Sight of Death", published by Yale University Press in 2006.
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  28. B. Hartley (1996). The Living Academies of Nature: Scientific Experiment in Learning and Communicating the New Skills of Early Nineteenth-Century Landscape Painting. Studies in History and Philosophy of Science Part A 27 (2):149-180.
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  29. Deborah J. Haynes (1995). Bakhtin and the Visual Arts. Cambridge University Press.
    Bakhtin and the Visual Arts is the first book to assess the relevance of Mikhail Bakhtin's ideas as they relate to painting and sculpture. First published in the 1960s, Bakhtin's writings introduced the concepts of carnival and dialogue or dialogism, which have had significant impact in such diverse fields as literature and literary theory, philosophy, theology, biology, and psychology. In his four early aesthetic essays, written between 1919 and 1926, and before he began to focus on linguistic and literary categories, (...)
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  30. Gizela Horvath (2012). Tükröm, tükröm... Az önarckép lehetőségei a kortárs képzőművészetben. Korunk (9):19-28.
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  31. Gizela Horvath (2012). Whose Shoes? Identity in Works of Art. Synthesis Philosophica 26 (2):283-297.
    The problem of identity in the world of art is relevant from many perspectives. This paper aims at discussing the identity of the work of art. The discussion is built in three steps: the problem of identification of an object as work of art, the problem of the relevant properties of a work of art and the question of the author of the work of art as decisive (or not) for the identification of a work of art. These issues are (...)
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  32. Ian Jarvie (2015). Pornography Stumps Analytic Philosophers of Art. Philosophy of the Social Sciences 45 (1):122-140.
    A book in which analytic philosophers examine the portrayal of sex in art and the possible artistic value of pornography proves a disappointment. Although a transcendental objection to pornographic art is rebutted, the papers employ barren philosophical methods that divert energy away from significant problems and into scholastic quibbles.
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  33. Galen A. Johnson (2008). The Beautiful and the Sublime in Merleau-Ponty and Lyotard. Chiasmi International 10:207-226.
  34. Gavin Keeney (2012). Dossier Chris Marker: The Suffering Image. Cambridge Scholars Publishing.
    This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...)
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  35. E. F. Keller (2004). The Molecular Gaze: Art in the Genetic Age Suzanne Anker and Dorothy Nelkin. Bioessays 26 (7):817-817.
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  36. Linda Krumholz & Estella Lauter (1990). Annotated Bibliography on Feminist Aesthetics in the Visual Arts. Hypatia 5 (2):158 - 172.
    Feminism compels us to reconceptualize aesthetic inquiries, as it erases the boundaries between the traditional realm of aesthetics-value judgments and personal pleasures-and the historical and social contexts that generate those judgments and pleasures. In the visual arts section of our annotated bibliography, we try to suggest the breadth of feminist interventions in the field of aesthetics in the past twenty years.
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  37. John Kulvicki (2008). Artifact Expression. In K. Stock & K. Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave.
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  38. Jan Lloyd Jones (ed.) (2007). Art and Time. Australian Scholarly Publishing.
  39. Jan Lloyd Jones & Julian Lamb (eds.) (2010). Art and Authenticity. Australian Scholarly Publishing.
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  40. Christian Lotz (2009). Representation or Sensation? A Critique of Deleuze’s Philosophy of Painting. Symposium: The Canadian Journal of Continental Philosophy 13 (1):59-72.
    In this paper, I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the nonintentional relation that painting (...)
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  41. Hans Maes (2008). Challenging Partial Intentionalism. Journal of Visual Arts Practice 7 (1):85-94.
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  42. Hans Maes & Jerrold Levinson (eds.) (2012). Art & Pornography: Philosophical Essays. Oxford University Press.
    Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...)
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  43. Christy Mag Uidhir (2009). Unlimited Additions to Limited Editions. Contemporary Aesthetics 7.
    In this paper I target the relationship between two prints that are roughly qualitatively identical and share a causal history. Is one an artwork if and only if the other is an artwork? To answer this, I propose two competing principles. The first claims that certain intentional relations must be shared by the prints (e.g., editioned prints vs. non-editioned prints). The second, which I endorse, appeals only to minimal print ontology, claiming that the two prints need only be what I (...)
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  44. Sauer Martina (1914). Dr. M.A. [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 14 (3):1-3.
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  45. Patrick Maynard (1996). Form. In The Grove Dictionary of Art. Macmillan.
    'Doing an Aristotle' on Form: a highly compressed attempt to explain what we mean by the ambiguous term "form" in visual arts.
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  46. Chris Mortensen, Steve Leishman, Peter Quigley & Theresa Helke (2013). How Many Impossible Images Did Escher Produce? British Journal of Aesthetics 53 (4):425-441.
    In this article we address the question of how many impossible images Escher produced. To answer requires us first to clarify a range of concepts, including content, ambiguity, illusion, and impossibility. We then consider, and reject, several candidates for impossibility before settling on an answer.
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  47. Daniel Moseley (2012). Self-Creation, Identity and Authenticity: A Study of "A History of Violence" and "Eastern Promises". In Simon Riches (ed.), The Philosophy of David Cronenberg. University Press of Kentucky.
    This essay explores philosophical questions about practical identity that emerge in David Cronenberg's films, "A History of Violence" and "Eastern Promises." I distinguish the metaphysical problems of personal identity from the practical problems and contend that the latter are of central importance to the topic of authenticity. Central scenes from both films are examined with an eye to their engagement with the issues of authenticity and self-creation.
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  48. Declan Christopher Murphy (1985). The Theory of the Visual Arts in Old Russian [Microform]. University Microfilms International.
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  49. Bogdan Nita (2012). Intentional Image and Transcendental Image in the Work of Art. Image 2 (2321):231.
    The purpose of this paper is to show that images have an ontological support by which they obtain an independent existence from the mind. In accordance with the new theories of aesthetics, we will see that the object of art is taken as an object of thought. Image has an important role in the existence of the work of art; therefore the image becomes an object of thought. To show how the image is independent from the mind or to show (...)
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  50. Erwin Panofsky (1983). Meaning in the Visual Arts. University of Chicago Press.
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