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  1. Andrew Aberdein (2008). The Companions and Socrates: Is Inara a Hetaera? In Rhonda V. Wilcox & Tanya Cochran (eds.), Investigating Firefly and Serenity: Science Fiction on the Frontier. I. B. Tauris 63-75.
  2. Andrew Aberdein (2003). Balderdash and Chicanery: Science and Beyond. In James South (ed.), Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale. Open Court 79-90.
    The status and limits of science are the focus of urgent public debate. This paper contributes a philosophical analysis of representations of science and the supernatural in popular culture. It explores and critiques a threefold taxonomy of supernatural narratives: (1) reduction of the supernatural to contemporary science; (2) reduction to a `future science' methodologically continuous with contemporary science; (3) the supernatural as irreducible. The means by which the TV series Buffy the Vampire Slayer adroitly negotiates the borderlines between these narratives (...)
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  3. Kimberly Baltzer-Jaray, Robert Arp, Judith Andre, Jai Galliott, Rod Carveth & Céline Morin (2013). The Good Wife and Philosophy: Temptations of Saint Alicia. Open Court.
    Fifteen philosophers look at the deeper issues raised in the highly popular TV drama, including common morality, legal correctness and legal ethics, discussing the gray areas of legal battles and maneuvering. Original.
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  4. Arnold Berleant (1994). The Critical Aesthetics of Disney World. Journal of Applied Philosophy 11 (2):171-180.
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  5. Matthew J. Brown (2016). Love Slaves and Wonder Women: Radical Feminism and Social Reform in the Psychology of William Moulton Marston. Feminist Philosophy Quarterly 2 (1):1.
    In contemporary histories of psychology, William Moulton Marston is remembered for helping develop the lie detector test. He is better remembered in the history of popular culture for creating the comic book superhero Wonder Woman. In his time, however, he contributed to psychological research in deception, basic emotions, abnormal psychology, sexuality, and consciousness. He was also a radical feminist with connections to women's rights movements. Marston's work is an instructive case for philosophers of science on the relation between science and (...)
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  6. Phillip Deen (2011). Interactivity, Inhabitation and Pragmatist Aesthetics. Game Studies 11 (2).
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  7. Richard Eldridge (2002). Romance and Politics/Romance and Folly: Thomas E. Wartenberg's Unlikely Couples. Journal of Social Philosophy 33 (2):322–329.
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  8. C. E. Emmer (2007). The Flower and the Breaking Wheel: Burkean Beauty and Political Kitsch. International Journal of the Arts in Society 2 (1):153-164.
    What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows for (...)
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  9. C. E. Emmer (1998). Kitsch Against Modernity. Art Criticism 13 (1):53-80.
    "The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...)
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  10. Filippo Fimiani (2012). Fantasmi Dell'arte: Sei Storie Con Spettatore. Liguori.
    « The destiny of Art—a revenant». « The object of Art might be to seek to eliminate the necessity of the object ». This book’s theme and method stand halfway between these two assertions—the first by the German romantic poet Novalis, the second by the Californian post-minimalist artists Robert Irwin and James Turrell about a research program on art and technology in the late 1960s. Neither of these statements declares that art is dead. On the contrary, they announce that art (...)
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  11. Filippo Fimiani (2011). Cose debitrici. Credenze, atmosfere, arte. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):137-174.
    What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...)
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  12. Christine James (2015). Aesthetics in the Age of Austerity: Building the Creative Class. In Anthology of Philosophical Studies 9. Athens Institute for Education and Research 37-48.
    Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative arts (...)
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  13. Christine James (2010). The Common Vernacular of Power Relations in Heavy Metal and Christian Fundamentalist Performances. In Rosemary Hill Karl Spracklen (ed.), Heavy Fundametalisms: Music, Metal and Politics. Inter-Disciplinary Press
    Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual representations of power in both Heavy Metal and Fundamentalist Christian communities. Performances at metal shows, and performances of ‘religious theatre’, share an emphasis on violence and destruction. For example, groups like GWAR and Cannibal Corpse feature violent scenes in stage shows and album covers, scenes that depict gory results of unrestrained sexuality that are strikingly like Halloween ‘Hell House’ show presented by neo-Conservative, Fundamentalist Christian (...)
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  14. Christine James (2005). The Benefits of Comedy: Teaching Ethics Through Shared Laughter. Academic Exchange Extra (April).
    Over the last three years I have been fortunate to teach an unusual class, one that provides an academic background in ethical and social and political theory using the medium of comedy. I have taught the class at two schools, a private liberal arts college in western Pennsylvania and a public regional state university in southern Georgia. While the schools vary widely in a number of ways, there are characteristics that the students share: the school in Pennsylvania had a large (...)
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  15. Odin Kroeger, Günther Friesinger, Paul Lohberger & Eberhard Ortland (eds.) (2011). Geistiges Eigentum und Originalität: Zur Politik der Wissens- und Kulturproduktion. Turia + Kant.
    Mit der zunehmenden Bedeutung immaterieller Güter nimmt auch die Intensität der Konflikte um »Geistiges Eigentum« zu. Dabei fungiert der Mythos vom Original nach wie vor als Grundlage für Rechtsansprüche auf exklusive Verfügungsrechte. Wer ein Urheberrecht in Anspruch nehmen, eine Erfindung anmelden will, muss behaupten, die betreffenden Formen oder Verfahren seien das Ergebnis seiner originären kreativen Leistung. Aber was ist Originalität? Unter welchen Umständen wird sie wem zugerechnet? Dieser Band bietet Bestandsaufnahmen und Analysen der rechtlichen, politischen, ökonomischen und kulturellen Problemlage und (...)
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  16. Jon Lawhead (2012). Getting Fundamental About Doing Physics in The Big Bang. In Dean Kowalski (ed.), The Big Bang Theory and Philosophy. Blackwell 99-111.
  17. Roopen Majithia (2012). Blues and Catharsis. In Jesse R. Steinberg & Abrol Fairweather (eds.), Blues -- Philosophy for Everyone: Thinking Deep About Feeling Low. Wiley-Blackwell 84--93.
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  18. John Marmysz (2012). Rooting for the Fascists in James Cameron's Avatar. Film and Philosophy 16.
    Conservative critics have united in attacking James Cameron’s newest blockbuster Avatar for its “liberal” political message. But underneath all of the manifest liberalism of Avatar there is also a latent message. In his valorization of the organic, primal, interconnectedness of Na’vi culture and his denigration of the mechanical, modern, disconnectedness of human culture, Cameron runs very close to advocating a form of fascism. -/- In this paper I describe the overarching philosophical perspective of fascism, and then I draw on the (...)
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  19. John Marmysz (2003). Laughing at Nothing: Humor as a Response to Nihilism. SUNY Press.
    Disputing the common misconception that nihilism is wholly negative and necessarily damaging to the human spirit, John Marmysz offers a clear and complete definition to argue that it is compatible, and indeed preferably responded to, with an attitude of good humor. He carefully scrutinizes the phenomenon of nihilism as it appears in the works, lives, and actions of key figures in the history of philosophy, literature, politics, and theology, including Nietzsche, Heidegger, Camus, and Mishima. While suggesting that there ultimately is (...)
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  20. John Marmysz (2002). War, Occupation, and Creativity. [REVIEW] Consciousness, Literature and the Arts 3 (2).
    A review of War, Occupation, and Creativity: Japan and East Asia 1920-1960, edited by Marlene Mayo and Thomas Rimer, with H. Eleanor Kerkham.
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  21. John Marmysz (1996). From Night to Day: Nihilism and the Living Dead. Film and Philosophy 3:138-143.
    Upon its release in 1968, George Romero's Night of the Living Dead was attacked by many critics as an exploitative low budget film of questionable moral value. I argue in this paper that Night of the Living Dead is indeed nihilistic, but in a deeper philosophical sense than the critics had in mind.
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  22. Dominic Preston (2014). Some Ontology of Interactive Art. Philosophy and Technology 27 (2):267-278.
    Lopes (2010) offers an account of computer art, which he argues is a new art form. Part of what makes computer art distinctive, according to Lopes, is its interactivity, a quality found in few non-computer artworks. Given the rise in prominence of such artworks, most notably videogames, they are surely worthy of philosophical inquiry. I believe their ontology and properties are particularly worthy of study, as an understanding of these will prove crucial to critical understanding and evaluation of the works (...)
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  23. Brian Ribeiro (2008). A Distance Theory of Humour. Think 6 (17/18):139-148.
    This paper develops a programmatic 'theory sketch' of a new theory of humour, pitched at roughly the same level of detail, and intended to have roughly the same level of inclusiveness, as the other available philosophical "theories" of humour. I will call the theory I propose the distance theory. After an appeal to some intuitive illustrations of the distance theory's attractions, I move on to offer an analysis of observational comedy using the distance theory. I conclude the paper with some (...)
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  24. Stephen Snyder (2010). Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn. Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  25. Mahendra Wibawa (2015). Budaya Media Sosial dan Game Online Dalam Pandangan Filsafat Teknologi Don Ihde. In Anik Juwariyah & Prima Vidya Asteria (eds.), Konstelasi Kebudayaan Indonesia 1. Bintang Surabaya 298-310.
    Berbagai macam aktifitas manusia tidak bisa dipisahkan dari teknologi sebagai wujud alat bantu untuk melaksanakan tugas-tugasnya dengan lebih efektif dan efisien dan terobosan teknologi di bidang informatika telah menghasilkan bentukan teknologi yang berbasis komunikasi yang selain efektif juga bersifat menyenangkan. Media sosial dan game online adalah dua diantara berbagai macam produk hasil pengembangan teknologi di bidang tersebut. Dalam kedua media ini manusia mengalami sebuah perpindahan realitas dari dunia nyata ke dalam dunia virtual. Filsafat teknologi yang dicetuskan oleh Don Ihde digunakan (...)
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  26. Saiful Yahya (2014). Rancang Bangun Permainan "Werkudara" menggunakan Djikstra pada Agen Musuh. The 1st International Conference for Arts and Arts Education on Indonesia (ICAAE) 2014 1:444-454.
    Wayang is not only a cultural heritage of Indonesia but also the world's cultural heritage has been named by UNESDO. But now a Wayang's show underappreciated because the conventional and the use of cimplicated language. Various ways can be done to preserve the culture of puppets, one of which is to combine Wayang and interactive multimedia. Therefore created a game with the name Werkudara - The Sacred Water. Werkudara Game - The Sacred Water is a game that is taken from (...)
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  27. Jakob Zaaiman (2012). What is Art ? A Philosophical Definition. Alldaynight.Info.
    Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in nature, (...)
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  28. 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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