This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related categories
Siblings:
90 found
Search inside:
(import / add options)   Order:
1 — 50 / 90
  1. Thomas Adajian (2005). On the Prototype Theory of Concepts and the Definition of Art. Journal of Aesthetics and Art Criticism 63 (3):231–236.
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    My bibliography   2 citations  
  2. Thomas Adajian (2003). On the Cluster Account of Art. British Journal of Aesthetics 43 (4):379-385.
    The cluster account of art is a purportedly non-definitional account of art, inspired by Wittgenstein's notion of family resemblance, and recently defended by Berys Gaut. Gaut does not provide good reasons to think that art is not definable, and his approach to possible counterexamples to the cluster account would, applied consistently, preclude this. The cluster account's theory of error, its resources for accounting for borderline cases, and its heuristic usefulness are not impressive. Reasons strong enough to warrant accepting the cluster (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  3. Lars-Olof Åhlberg (1995). Analytic Aesthetics and Anti-Essentialism: A Reply to Richard Shusterman. British Journal of Aesthetics 35 (4):387-389.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  4. Alex Aliyev (2009). The Intentional-Attributive Definition of Art. Consciousness, Literature and the Arts 10 (2).
    In this paper the author reviews the most debated theories of art in contemporary aesthetics and offers a new, intentional-attributive definition of art. He begins by expanding on Weitz’s theory, after which he presents arguments that refute Weitz's claim that it is logically impossible to define art. The author then examines the institutional, the historical, and the aesthetic definitions of art and shows that all of these have weaknesses and none stands up completely to criticism. Taking into consideration the shortcomings (...)
    Remove from this list  
    Translate
      Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  5. Derek Allan (2009). Art and the Human Adventure: André Malraux's Theory of Art. Rodopi.
    " Suitable for both newcomers to Malraux and more advanced students, the study also examines critical responses to these works by figures such as Maurice ...
    Remove from this list  
    Translate
      Direct download  
     
    Export citation  
     
    My bibliography  
  6. Derek Allan (2003). André Malraux and the Challenge to Aesthetics. Journal of European Studies 33 (128): 23-40.
    Remove from this list  
    Translate
      Direct download  
     
    Export citation  
     
    My bibliography  
  7. Emmanuel Alloa (2011). Restitutionen. Wiedergaben des 'Ursprungs des Kunstwerks' in der französischen Philosophie. In David Espinet & Tobias Keiling (eds.), Heideggers 'Ursprung des Kunstwerks'. Klostermann 261-276.
  8. Meter Amevans (1975). Art for Art's Sake Again? Journal of Aesthetics and Art Criticism 33 (3):303-307.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  9. Meter Amevans (1971). Is It Art? Journal of Aesthetics and Art Criticism 30 (1):39-48.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  10. D. J. B. (1966). What Is Art? Review of Metaphysics 19 (3):612-612.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  11. Sondra Bacharach (2007). The Philosophy of Art. By Davies, Stephen. Journal of Aesthetics and Art Criticism 65 (2):240–242.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    My bibliography  
  12. Sondra Bacharach (2002). Can Art Really End? Journal of Aesthetics and Art Criticism 60 (1):57–66.
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    My bibliography  
  13. John A. Bailey (1963). A Reply to Mischel's "Collingwood on Art as 'Imaginative Expression'". Australasian Journal of Philosophy 41 (3):372 – 378.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  14. Tibor Bárány (2013). “This is Not Art” — Should We Go Revisionist About Works of Art? Proceedings of the European Society for Aesthetics 5:86-99.
    To propose a revisionist ontology of art one has to hold that our everyday intuitions about the identity and persistence conditions of various kinds of artworks can be massively mistaken. In my presentation I defend this view: our everyday intuitions about the nature of art can be (and sometimes are) mistaken. First I reconstruct an influential argument of Amie L. Thomasson (2004; 2005; 2006; 2007a; 2007b) against the fallibility of our intuitive judgments about the identity and persistence conditions of various (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  15. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  16. Christopher Bartel (2005). Art and Value. [REVIEW] British Journal of Aesthetics 45 (1):94-96.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  17. Timothy W. Bartel (1979). Appreciation and Dickie's Definition of Art. British Journal of Aesthetics 19 (1):44-52.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  18. Roland Bluhm & Reinold Schmücker (eds.) (2002). Kunst und Kunstbegriff: Der Streit um die Grundlagen der Ästhetik. Mentis.
    Lässt sich Kunst definieren? Von vielen analytischen Kunstphilosophen wird das bezweifelt. Für sie ist der Kunstbegriff ein “offener Begriff”, der auf unterschiedlichste Phänomene angewandt werden kann, selbst wenn diese keine gemeinsame Eigenschaft miteinander verbindet. Wer danach fragt, was Kunst denn eigentlich sei, verkennt in ihren Augen das Wesen des Kunstbegriffs. Träfe diese Auffassung zu, wären philosophische Theorien über das Wesen der Kunst bloße Spekulation. Der Streit um den Kunstbegriff, der bis heute nicht beigelegt ist, ist deshalb ein Streit um die (...)
    Remove from this list  
    Translate
      Direct download  
     
    Export citation  
     
    My bibliography  
  19. Guy Bouchard (1982). Gilson, l'oeuvre d'art et le roman. Philosophiques 9 (2):195-221.
    La philosophie de l'art d'Étienne Gilson n'accorde aucune place au roman. Après avoir dégagé les raisons de ce rejet et en avoir dévoilé les présupposés, nous montrons que le roman a droit de cité dans la sphère des arts majeurs, et ce même à partir des principes de la théorie de Gilson.Gilson's philosophy of art leaves no room to the novel. First, we elucidate his reasons to do so, then we disclose their presuppositions, and finally we show that the novel (...)
    Remove from this list  
    Translate
      Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  20. Vladimir Breskin (2010). Triad. Method for Studying the Core of the Semiotic Parity of Language and Art. Signs - International Journal of Semiotics 3 (2010):1-28.
    The purpose of this paper is to present and describe a new method for studying pre-speech language. The suggested approach allows correlate epistemology of linguistics to the ideological tradition of other scientific disciplines. Method is based on three linguistic categories – nouns, verbs, and interjections in their motor and expressive qualities – and their relation to the three basic forms of art – graphics (visual art), movement (dance), and sound (music). The study considers this correlation as caused by the nature (...)
    Remove from this list  
    Translate
      Direct download  
     
    Export citation  
     
    My bibliography  
  21. Elisa Caldarola (2015). Ernst H. Gombrich on Abstract Painting. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):77-86.
    Ernst H. Gombrich criticized abstract painting with several remarks scattered around his wide oeuvre. I argue that his view of abstract paintings is coherent with the account of pictorial representation he put forward in Art and Illusion, show some limits of such view, and maintain that, although several of Gombrich’s criticisms of abstract painting should be rejected, some of his remarks are insightful and worth of consideration.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  22. David Clowney (2011). Definitions of Art and Fine Art's Historical Origins. Journal of Aesthetics and Art Criticism 69 (3):309-320.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  23. Daniel Cohnitz, Wann Ist Eine Definition von 'Kunst' Gut?
    n diesem Kapitel soll das Problem ›Was genstand dieses Kapitels. Wir werden sehen, ist Kunst?‹, wie es sich für die analytische dass sich diese Adäquatheitsbedingungen aus Kunstphilosophie stellt, erläutert und eine Reiunserer Auffassung von analytischer Philosohe von »Adäquatheitsbedingungen« für seine phie heraus begründen lassen. Dieses zweite möglichen Lösungen formuliert werden. Adä- Kapitel bereitet also gewissermaßen den theoquatheitsbedingungen sind dabei Anforderunretischen Boden für die Folgekapitel. gen, die wir an eine potentielle Problemlösung Wie aus der Charakterisierung der analystellen und die eine Bewertung (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  24. R. G. Collingwood (1958). The Principles of Art. New York, Oxford University Press.
    This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   40 citations  
  25. Diarmuid Costello (2004). On Late Style: Arthur Danto’s the Abuse of Beauty. British Journal of Aesthetics 44 (4):424-439.
    cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  26. 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 (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  27. Stephen Davies (2015). Defining Art and Artworlds. Journal of Aesthetics and Art Criticism 73 (4):375-384.
    Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  28. T. J. Diffey (1973). Essentialism and the Definition of ‘Art’. British Journal of Aesthetics 13 (2):103-120.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  29. John Dilworth (2007). In Support of Content Theories of Art. Australasian Journal of Philosophy 85 (1):19 – 39.
    A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...)
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    My bibliography  
  30. John Dilworth (2001). Artworks Versus Designs. British Journal of Aesthetics 41 (2):162-177.
    I propose a distinction between design intentions, activities and products, as opposed to artistic intentions, activities and artworks. Examples of design products would include a specific type of car (or any other invention or device) as well as closer relatives of art such as decorative wall designs. In order to distinguish artistic from design intentions, I present an example in which two sculptors independently work on a single object to produce two sculptures, which are distinct just because the artistic intentions (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  31. A. Donagan (1958). The Croce-Collingwood Theory of Art. Philosophy 33 (125):162-167.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  32. Jonathan Farrell (2008). Must Aesthetic Definitions of Art Be Disjunctive? American Society for Aesthetics Graduate E-Journal 1 (1):1-6.
    Aesthetic definitions of art face difficulties in dealing with art that is nonaesthetic. This has led some to suggest that if aesthetic theories of art are to apply to all art, then they must be disjunctive. In such a case, something would be art if and only if it either satisfied certain aesthetic criteria, or satisfied other, nonaesthetic, criteria.Nick Zangwill offers the Aesthetic Creation Theory. He considers ways that his theory could account for nonaesthetic art, and ultimately adopts a disjunctive (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  33. Gene Fendt (1997). The Others In/Of Aristotle's Poetics. Journal of Philosophical Research 22:245-260.
    This paper aims at interpreting (primarily) the first six chapters of Aristotle’s Poetics in a way that dissolves many of the scholarly arguments conceming them. It shows that Aristotle frequently identifies the object of his inquiry by opposing it to what is other than it (in several different ways). As a result aporiai arise where there is only supposed to be illuminating exclusion of one sort or another. Two exemplary cases of this in chapters 1-6 are Aristotle’s account of mimesis (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  34. 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 (...)
    Remove from this list  
    Translate
      Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  35. Filippo Fimiani & Pietro Kobau (2011). Editoriale–Etichettare/descrivere/mostrare. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):2-7.
    “Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...)
    Remove from this list  
    Translate
      Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  36. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  37. Simon Fokt (2014). Andina, Tiziana: The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories, 2013. [REVIEW] British Journal of Aesthetics 54 (2):122-125.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  38. 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 (...)
    Remove from this list   Direct download (8 more)  
     
    Export citation  
     
    My bibliography  
  39. Simon Fokt (2012). Pornographic Art - A Case From Definitions. British Journal of Aesthetics 52 (3):287-300.
    On the whole, neither those who hold that pornography can never be art nor their opponents specify what they actually mean by ‘art’, even though it seems natural that their conclusions should vary depending on how the concept is understood. This paper offers a ‘definitional crossword’ and confronts some definitions of pornography with the currently most well-established definitions of art. My discussion shows that following any of the modern definitions entails that at least some pornography not only can be, but (...)
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    My bibliography  
  40. D. W. Gotshalk (1941). A Relational Theory of Fine Art. Journal of Philosophy 38 (13):350-359.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  41. Mitchell Green (2009). Aesthetic Creation • by N. Zangwill. Analysis 69 (2):399-401.
    Definitions of art tend to take the phenomenon at face value, with philosophers aspiring to accommodate their theories to the artistic facts no matter how bizarre. The result, as for instance in the work of Dickie, is a definition of art neutral on the questions whether any of it is any good, and why anyone would bother to produce it. Zangwill bucks this trend by insisting that the method of definition-and-counterexample that drives much of the field is out of date, (...)
    Remove from this list   Direct download (8 more)  
     
    Export citation  
     
    My bibliography  
  42. Dominic Griffiths (2015). The Poet as ‘Worldmaker’: T.S. Eliot and the Religious Imagination. In Francesca Knox & David Lonsdale (eds.), The Power of the Word: Poetry and the Religious Imagination. Ashgate 161-175.
    Martin Heidegger defines the world as ‘the ever non-objective to which we are subject as long as the paths of birth and death . . . keep us transported into Being’. He writes that the world is ‘not the mere collection of the countable or uncountable, familiar and unfamiliar things that are at hand . . . The world worlds’. Being able to fully and richly express how the world worlds is the task of the artist, whose artwork is the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  43. J. Hospers (1956). The Croce-Collingwood Theory of Art. Philosophy 31 (119):291-308.
    It is not my intention in this brief essay to give an exhaustive critical analysis of the theory of art championed by Croce and his follower Collingwood; I intend only to point out certain confusions in and misunderstandings of their theory, and to make a few critical comments in the light of them. Nor do I wish to imply that the theories of Croce and Collingwood are identical; but although they diverge on some points, and although each develops views that (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  44. Dale Jacquette (ed.) (1996). Schopenhauer, Philosophy, and the Arts. Cambridge University Press.
    This collection brings together thirteen new essays by some of the most respected contemporary scholars of Schopenhauer's aesthetics from a wide spectrum of philosophical perspectives. The dynamics of the empirical will and Will as a thing-in-itself in the interplay of Schopenhauer's metaphysics and philosophy of fine art has important implications for the freedom, salvation, and tragic suffering of the artist, the representation of Platonic Ideas in art, and the role of artistic inspiration, emotion, and aesthetic pleasure in the beautiful and (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  45. P. Jenkins (2008). Jeffrey Strayer, Subjects and Objects: Art, Essentialism, and Abstraction. Philosophy in Review 28 (2):153.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  46. Pedro Karczmarczyk (2007). La subjetivización de la estética y el valor cognitivo del arte según Gadamer. Analogía Filosófica: Revista de Filosofía, Investigación y Difusión (1):127-173.
    En este trabajo analizamos la reivindicación gadameriana del valor cognitivo de arte como un ejemplo de un modo de conocimiento que permite concebir de mejor manera la comprensión que tiene lugar en las ciencias del espíritu. Dicha reivindicación presupone el desconocimiento del valor cognitivo del arte operado por la subjetivización de la estética con Kant y una vuelta a los presupuestos de la tradición humanista. Por ello en la introducción presentamos en esquema los conceptos humanistas de tacto, gusto, (...)
    Remove from this list  
    Translate
      Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  47. Wang Keping (2008). The Theory of Art as Sedimentation. Proceedings of the Xxii World Congress of Philosophy 36:159-182.
    For so long a time it has been getting increasingly formidable, if not possible, to define art in general ever since the advent of the so-called “found art” or “ready-mades” of Marcel Duchamp and Andy Warhol, among other avant-garde or pop artists. But this does not have too much constraint over some philosophers who have made persistent attempts in this regard. What have turned out to be considerably influential are the “artworld” framed by Arthur C. Danto and the “institutional theory” (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  48. Donald Kuspit (ed.) (1998). Art Criticism.
    Remove from this list  
    Translate
     
     
    Export citation  
     
    My bibliography  
  49. P. Lewis (1989). Collingwood on Art and Fantasy. Philosophy 64 (250):547-556.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  50. Dominic McIver Lopes (2008). Nobody Needs a Theory of Art. Journal of Philosophy 105 (3):109-127.
    The question "what is art?" is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment's thought. The trouble is not that anyone might seriously deny the truth of (R), but rather (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
1 — 50 / 90