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  1. Lars Aagaard-Mogensen (ed.) (1976). Culture and Art: An Anthology. Humanities Press.
    Danto, A. The artworld.--Dickie, G. What is art?--Margolis, J. Works of art are physically embodied and culturally emergent entities.--Kjørup, S. Art broadly and wholly conceived.--Meyer, L. B. Forgery and the anthropology of art.--Brunius, T. Theory and ideologies in aesthetics.--Tilghman, B. R. Artistic puzzlement.--Binkley, T. Deciding about art.--Alexander, H. G. On defining in aesthetics.--Iseminger, G. Appreciation, the artworld, and the aesthetic.--Glickman, J. Creativity in the arts.--Sclafani, R. The theory of art.--Lyas, C. Danto and Dickie on art.--Beardsley, M. C. Is art essentially (...)
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  2. Rudolf Arnheim (1999). Art as Such. British Journal of Aesthetics 39 (3):252-254.
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  3. Sondra Bacharach (2007). The Philosophy of Art. By Davies, Stephen. Journal of Aesthetics and Art Criticism 65 (2):240–242.
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  4. Sondra Bacharach (2002). Can Art Really End? Journal of Aesthetics and Art Criticism 60 (1):57–66.
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  5. George Bailey (1989). Amateurs Imitate, Professionals Steal. Journal of Aesthetics and Art Criticism 47 (3):221-227.
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  6. Moshe Barasch (1985/2000). Theories of Art. Routledge.
    In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship between scientific (...)
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  7. Paul Crowther (2007). Defining Art, Creating the Canon: Artistic Value in an Era of Doubt. Oxford University Press.
    Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...)
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  8. Arthur Coleman Danto (1992). Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective. Farrar Straus Giroux.
    In Danto's view, Andy Warhol's Brillo Box was not only a radical attack on traditional definitions of the art work; it brought the history of Western art to a close. In this collection of interconnected essays, he grapples with this and many more of the most challenging issues in art today, from the problems of contemporary pluralism to the dilemmas of censorship and state support for artists.
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  9. C. E. Emmer (2013). 9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch. In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Publishing. 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
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  10. Simon Fokt (2014). The Cluster Account of Art: A Historical Dilemma. Contemporary Aesthetics 12:N/A.
    The cluster account, one of the best attempts at art classification, is guilty of ahistoricism. While cluster theorists may be happy to limit themselves to accounting for what art is now rather than how the term was understood in the past, they cannot ignore the fact that people seem to apply different clusters when judging art from different times. This paper shows that while allowing for this kind of historical relativity may be necessary to save the account, doing so could (...)
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  11. Simon Fokt (2013). Solving Wollheim's Dilemma: A Fix for the Institutional Definition of Art. Metaphilosophy 44 (5):640-654.
    Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. An (...)
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  12. I. Gaskell (2012). Spilt Ink: Aesthetic Globalization and Contemporary Chinese Art. British Journal of Aesthetics 52 (1):1-16.
    In response to globalization, is there to be a single, homogeneous set of aesthetic values governing the production and consumption of art? I focus on a newcomer to globalized contemporary art, China, and argue that artworld art is far from the only art currently being produced. I describe four connected kinds of art currently made in China: Modernist, traditional, and avant-garde, which are artworld art, and mass commercial, which is not. Practices in all four conform to expectations globally that Chinese (...)
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  13. K. E. Gover (2012). Christoph Büchel V. Mass MoCA: A Tilted Arc for the Twenty-First Century. Journal of Aesthetic Education 46 (1):46-58.
    The 1990 Visual Artists Rights Act (VARA) is a provision of U.S. copyright law that seeks to protect the noneconomic rights of artists, called "moral rights." These rights are due to the "presumed intimate bond between artists and their works."1 In the United States it protects rights of artistic attribution and integrity: the artwork cannot be claimed as the work of another, and it cannot be distorted. In some cases VARA protects artworks from destruction. But what is the nature of (...)
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  14. J. R. Hamilton (2013). Living in an Artworld. British Journal of Aesthetics (1):ays065.
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  15. Sherri Irvin (2003). Work and Object: The Artist's Sanction in Contemporary Art. Dissertation, Princeton University
    Is an artwork simply identical to some physical object? While clearly not viable for art forms like literature and music, the view that artworks are physical objects is appealing for the singular visual arts , since it accords with our intuitions about the nature of visual artworks. A traditional challenge to the view holds that physical objects cannot possess representational properties, and thus visual artworks, most of which do have such properties, cannot be identical to physical objects. In chapter 1 (...)
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  16. 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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  17. Regina-Nino Kurg (2014). Artworld as Horizon: A Phenomenological Analysis of Unaided Ready-Mades. Studies on Art and Architecture (Kunstiteaduslikke Uurimusi) 23 (1/2):200-212.
  18. Michael Gerald Lafferty, Arthur Danto's Philosophy of Art.
    The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the (...)
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  19. Dominic Mciver Lopes (2007). The Aesthetic Function of Art. Philosophy and Phenomenological Research 75 (2):484–487.
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  20. Christy Mag Uidhir (2013). Art & Art-Attempts. Oxford University Press.
    Although few philosophers agree about what it is for something to be art, most, if not all, agree that art must be in some sense intention dependent. -/- Christy Mag Uidhir argues that artworks are the products of the attempts (goal-oriented intention-directed activities) in which we engage, and these attempts not only succeed or fail but have products that reflect that success or failure. It is not just that an artwork must be the product of intentional action but rather that (...)
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  21. Raamy Majeed (forthcoming). From Zombie Art to Dead Art. Think.
    Zombie art, or salvage art, are artworks that are damaged beyond repair, deemed ‘no-longer-art’ by insurance companies, and removed from the market and stored at claims inventories due to their purported loss of value. This paper aims to make sense of the notion of zombie art. It then aims to determine whether artefacts that fall under this concept retain any aesthetic value, and whether they can genuinely cease being artworks, i.e. be dead art.
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  22. Patrick Maynard (2007). Review of James Cutting, Impressionism and its Canon. Journal of Aesthetics and Art Criticism 65 (2):246–248.
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  23. Patrick Maynard (1992). Review of Richard Bolton (Ed.), The Contest of Meaning: Critical Histories of Photography. Journal of Aesthetics and Art Criticism 50 (1):68-71.
    Editor's errata: Journal of Aesthetics and Art Criticism 52.2 (Spring 1994): 167.
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  24. Patrick Maynard (1991). Review of J. Kirk Varnedoe, A Fine Disregard: What Makes Modern Art Modern. Journal of Aesthetics and Art Criticism 49 (4):390-392.
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  25. Patrick Maynard (1991). Photo-Opportunity. Canadian Review of American Studies 22 (3):501-528.
    Review of literature and independent essay on the 1989 sesquicentennial of photography, winner of Canadian Association for American Studies 1991 award for paper that "best exemplifies the discipline of American Studies".
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  26. Andrea Peghinelli (2012). Theatre Translation as Collaboration: A Case in Point in British Contemporary Drama. Journal for Communication and Culture 2 (1):20-30.
    Theatre translation is usually seen as a more elaborate dimension of literary translation because the text being translated is considered to be just one of the elements of theatre discourse. When translating a play, the translator should always adapt for performance the text he or she is recreating and be aware that a performer will deliver the lines. The translator, then, must take into account both the pragmatic and the semantic expressiveness of the word and remember that they are always (...)
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  27. Anita Silvers (1976). The Artwork Discarded. Journal of Aesthetics and Art Criticism 34 (4):441-454.
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  28. Paulo Vélez León (2012). Is There an Islamic Art? A Possible Question About the Status of Islamic Art, From a Western Perspective. ASRI – Arte y Sociedad. Revista de Investigación 2:1-7.
    The question of the status-onto-epistemological-the art is plausible to apply it to any context and cultural domain? Some authors argue that yes without any remorse, address this position in this note: [1] makes a briefly is a bibliographic description of the debates on this problematic, [2] raises the issue of the status of art, within the framework supported by Belting and Lessing, and [3] in correspondence with the above, indicated summarily the difficulties and considerations to take into account when attempting (...)
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  29. Paulo Vélez León, A Solution to the Conjecture of Meanings of Worlds of Art.
    This paper analyzes the relationship between the meanings of the particular aesthetic judgments (I) pronounced by any person on artwork and the artwork itself. The purpose is to state the following hypothesis: it is false that a consumer is stupid and unable to recognize the quality work of art and meaning of, it is more, all the phrases enunciated in natural language is not a conjecture, but that recognize and reflect the quality of the work. A work of art like (...)
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