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  1. Derek Allan, Analytic Aesthetics and the Dilemma of Timelessness.
    The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at obvious variance with our experience of the art of the past. Analytic aesthetics avoids examining this key problem because it confines its attention to issues such as the nature of aesthetic pleasure, whether the appreciation of art should (...)
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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). The Creative Process: An Aspect of André Malraux’s Theory of Art. Revue/Malraux/Review 37:66-84.
    Examines Malraux's account of the creative process in art, discusses a misreading of Malraux by Merleau-Ponty, and highlights shortcomings in certain "analytic aesthetics" accounts of the creative process.
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  4. 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 ...
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  5. Derek Allan (2009). An Intellectual Revolution: André Malraux and the Temporal Nature of Art. Journal of European Studies 39 (2):198-224.
    Very little has been written in recent decades about the temporal nature of art. The two principal explanations provided by our Western cultural tradition are that art is timeless (`eternal') or that it belongs within the world of historical change. Neither account offers a plausible explanation of the world of art as we know it today, which contains large numbers of works which are self-evidently not timeless because they have been resurrected after long periods of oblivion with significances quite different (...)
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  6. Derek Allan (2007). Art, Time and Metamorphosis. In Jan Lloyd Jones (ed.), Art and Time. Australian Scholarly Publishing 1.
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  7. Derek Allan (2003). Art as Anti-Destiny: Foundations of André Malraux’s Theory of Art. Literature and Aesthetics 13 (2):7-16.
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  8. Derek Allan (2003). André Malraux and the Challenge to Aesthetics. Journal of European Studies 33 (128): 23-40.
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  9. F. Antal (1952). The Moral Purpose of Hogarth's Art. Journal of the Warburg and Courtauld Institutes 15 (3/4):169-197.
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  10. R. J. B. (1968). On Quality in Art. Review of Metaphysics 21 (3):560-561.
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  11. Sondra Bacharach (2007). The Philosophy of Art. By Davies, Stephen. Journal of Aesthetics and Art Criticism 65 (2):240–242.
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  12. Cyril Barrett (1982). The Morality of Artistic Production. Journal of Aesthetics and Art Criticism 41 (2):137-144.
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  13. Christopher Bartel (2010). The 'Fine Art' of Pornography? In Dave Monroe (ed.), Porn: Philosophy for Everyone. Wiley-Blackwell 153--65.
    Can pornographic depictions have artistic value? Much pornography closely resembles art, at least in many superficial respects. Films, photographs, paintings—all of these can have artistic value. Of course, films, photographs and paintings can also be pornographic. If some photographs have artistic value, and some photographs are pornographic, can pornographic photographs have artistic value too? I argue that pornography may only possess artistic value despite, not by virtue of, its pornographic content.
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  14. Christopher Bartel (2005). Art and Value. [REVIEW] British Journal of Aesthetics 45 (1):94-96.
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  15. Christopher Bartel (2004). Is Art Good for Us? Beliefs About High Culture in American Life. British Journal of Aesthetics 44 (1):93-96.
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  16. Jane Bennett (2015). Encounters with an Art-Thing. Evental Aesthetics 3 (3):91-110.
    What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...)
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  17. Guy Bennett-Hunter (2009). Absurd Creation: An Existentialist View of Art? Philosophical Frontiers 4 (1):49-58.
    What are we to make of works of art whose apparent point is to convince us of the meaninglessness and absurdity of human existence? I examine, in this paper, the attempt of Albert Camus to provide philosophical justification of art in the face of the supposed fact of absurdity and note its failure as such with specific reference to Sartre’s criticism. Despite other superficial similarities, I contrast Camus’s concept of the absurd with that of his ‘existentialist’ colleagues, including Sartre, and (...)
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  18. Alessandro Bertinetto (2006). Arte como desrealización. Daimon: Revista de Filosofia 39:175-185.
    The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...)
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  19. Martijn Boven (2008). Wat vastgelegd is, misleidt ons: de Cahiers van Paul Valéry. Deus Ex Machina 127:5-6.
    Paul Valéry is de dichter die zwijgt; de denker die weigert filosoof te zijn; de schrijver die de taal in staat van beschuldiging stelt; de expert die volhoudt een amateur te zijn; de mysticus die zijn heil zoekt bij de wiskunde; de stamelaar die aan een kwaal van precisie lijdt; de Narcissus die misschien toch liever Orpheus had willen zijn. Hij is de chroniqueur van het denken en de meester van de tegenspraak. Ik probeer me hem voor te stellen. Het (...)
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  20. Antoon Braeckman (2004). From the Work of Art to Absolute Reason. Review of Metaphysics 57 (3):551 - 569.
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  21. Ben Bramble (forthcoming). On Susan Wolf's 'Good-For-Nothings'. Ethical Theory and Moral Practice:1-11.
    In her recent Presidential Address to the American Philosophical Association, “Good-For-Nothings”, Susan Wolf (2011) argues against welfarism about value by appeal to great works of art, literature, music, and philosophy. Wolf gives three main arguments, which I call The Superfluity Argument, The Explanation of Benefit Argument, and The Welfarist’s Mistake. In this paper, I reconstruct these arguments and explain where, in my view, each goes wrong.
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  22. Jochen Briesen (2014). Pictorial Art and Epistemic Aims. In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Publishing 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...)
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  23. Curtis Brown (2002). Art, Oppression, and the Autonomy of Aesthetics. In Alex Neill & Aaron Ridley (eds.), Arguing about Art, Second Edition. Routledge
    Mary Devereaux has suggested, in an overview of feminist aesthetics[1], that feminist aesthetics constitutes a revolutionary approach to the field: "aesthetics cannot simply 'add on' feminist theories as it might add new works by [<span class='Hi'>Nelson</span>] Goodman, Arthur Danto or George Dickie. To take feminism seriously involves rethinking our basic concepts and recasting the history of the discipline." In particular, feminist theory involves a rejection of "deeply entrenched assumptions about the universal value of art and aesthetic experience." Overthrowing these assumptions (...)
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  24. Malcolm Budd (2014). Artistic Merit. Journal of Aesthetic Education 48 (1):10-24.
    If you are interested in art, you engage in artistic evaluation, thinking of one work as being better than another; one artist as being better than another; some works and some artists as being great, mediocre, or poor; and, perhaps, thinking of some forms or genres of art as being superior to others in that works within the favored form or genre have achieved or can aspire to a higher artistic value than is possible for those less favored. The greatest (...)
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  25. Malcolm Budd (2014). Morality, Society, and the Love of Art. Estetika: The Central European Journal of Aesthetics 51 (2):170-207.
    The principal focus of the essay is the idea of artistic value, understood as the value of a work of art as the work of art it is, and the essay explores the connections, if any, between artistic value and a variety of other values in human life. I start with a series of observations about social values and then turn to moral values. Beginning from Goethe’s claim that ‘music cannot affect morality, nor can the other arts, and it would (...)
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  26. V. C. C. (1956). The Dehumanization of Art and Other Writings on Art and Culture. Review of Metaphysics 10 (1):182-182.
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  27. Stephen R. L. Clark (2003). Tolstoy on Aesthetics: What is Art? By H. O. Mounce (Ashgate: Aldershot, 2001), Pp Viii + 115, £Xxxx, ISBN 0 7546 0488 8. [REVIEW] Philosophy 78 (2):289-307.
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  28. Filippo Contesi (2012). Savoring Disgust: The Foul and the Fair in Aesthetics. [REVIEW] British Journal of Aesthetics 52 (1):113-116.
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  29. 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 (...)
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  30. 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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  31. Arnold Cusmariu (2009). The Structure of an Aesthetic Revolution. Journal of Visual Arts Practice 8 (3):163-179.
    Brought about through philosophical analysis – a first in the history of art – paradigm shifts in the ontology and epistemology of sculpture are described, motivated, and exemplified with pieces they inspired. Navigating the new aesthetic environment requires an ‘escape from Plato's Cave’ by means of a kind of phenomenological reduction. The new conceptual foundation allows artists unprecedented levels of freedom to explore and innovate, connects sculpture to music, and has the potential to enhance significantly the appreciation of art and (...)
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  32. Rafael De Clercq (2013). The Metaphysics of Art Restoration. British Journal of Aesthetics 53 (3):261-275.
    Art restorations often give rise to controversy, and the reason does not always seem to be a lack of skill or dedication on the side of the restorer. Rather, in some of the most famous cases, the reason seems to be a lack of agreement on basic principles. In particular, there seems to be a lack of agreement on how the following two questions are to be answered. First, what is art restoration supposed to achieve, in other words, what is (...)
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  33. Julian Dodd (2014). On a Proposed Test for Artistic Value. British Journal of Aesthetics 54 (4):395-407.
    In a recent paper, Robert Stecker proposes the following test for whether a value possessed by an artwork is artistic or not: ‘Does one need to understand the work to appreciate its being valuable in that way? If so, it is an artistic value. If not, it is not.’ An important question here is what Stecker means by ‘appreciation’ in this context. Stecker himself says little about this, but I offer him two accounts of the nature of appreciation, both of (...)
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  34. Julian Dodd (2013). Artistic Value and Sentimental Value: A Reply to Robert Stecker. Journal of Aesthetics and Art Criticism 71 (3):282-288.
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  35. Denis Dutton, Artistic Crimes.
    The concept of forgery is a touchstone of criticism. If the existence of forgeries — and their occasional acceptance as authentic works of art — has been too often dismissed or ignored in the theory of criticism, it may be because of the forger’s special power to make the critic look ridiculous. Awkward as it is, critics have heaped the most lavish praise on art objects that have turned out to be forged. The suspicion this arouses is, of course, that (...)
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  36. A. Edgar (2012). Who Needs Classical Music? Cultural Choice and Musical Value. British Journal of Aesthetics 52 (2):209-211.
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  37. Gene Fendt (1995). Resolution, Catharsis, Culture: As You Like It. Philosophy and Literature 19 (2):248-260.
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  38. Fimiani Filippo (2014). Only noise if you can see. Lebenswelt. Aesthetics and Philosophy of Experience 1 (4).
    What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called (...)
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  39. Ranjan K. Ghosh (1987). Artistic Communication and Symbol: Some Philosophical Reflections. British Journal of Aesthetics 27 (4):319-325.
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  40. Jonathan Gilmore (2013). That Obscure Object of Desire: Pleasure in Painful Art. In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan
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  41. Ian Ground & Salvador Rubio (2008). Reflexions al voltant de l'art contemporani. Quaderns De Filosofia I Ciència 38:79-86.
    La reflexió que ens proposa , en cara que específicament concebuda per a aquest acte, no necessita cap presentació i pot ser llegida perfectament com un text autò- nom. Tanmateix, em permet precedir-la amb unes quantes observacions que no pretenen.
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  42. Louise Hanson (2013). The Reality of (Non‐Aesthetic) Artistic Value. Philosophical Quarterly 63 (252):492-508.
    It has become increasingly common for philosophers to make use of the concept of artistic value, and, further, to distinguish artistic value from aesthetic value. In a recent paper, ‘The Myth of (Non-Aesthetic) Artistic Value’, Dominic Lopes takes issue with this, presenting a kind of corrective to current philosophical practice regarding the use of the concept of artistic value. Here I am concerned to defend current practice against Lopes's attack. I argue that there is some unclarity as to what aspect (...)
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  43. Robert Hopkins (2015). The Real Challenge to Photography (as Communicative Representational Art). Journal of the American Philosophical Association 1 (2):329-348.
    I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...)
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  44. Gaetano Iaia (2007). Matthias Grünewald e l’Altare di Isenheim, tra “Ars Pictorica” e Teologia. Proculus 81 (3/4):289-297.
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  45. 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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  46. Christopher Janaway (1997). Two Kinds of Artistic Duplication. British Journal of Aesthetics 37 (1):1-14.
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  47. Eileen John (2014). Meals, Art, and Artistic Value. Estetika: The Central European Journal of Aesthetics 51 (2):254-268.
    The notion of a meal is explored in relation to questions of art status and artistic value. Meals are argued not to be works of art, but to have the capacity for artistic value. These claims are used to respond to Dominic Lopes’s arguments in Beyond Art that demote artistic value in favour of the values that emerge from specific kinds of art. A conception of artistic value that involves ‘taking reflective charge’ of the possibilities for goodness available in an (...)
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  48. 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, sentido común (...)
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  49. John Kemp (1964). The Work of Art and the Artist's Intentions. British Journal of Aesthetics 4 (2):146-154.
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  50. Matthew Kieran (2012). For the Love of Art: Artistic Values and Appreciative Virtue. Royal Institute of Philosophy Supplement 71:13-31.
    It is argued that instrumentalizing the value of art does an injustice to artistic appreciation and provides a hostage to fortune. Whilst aestheticism offers an intellectual bulwark against such an approach, it focuses on what is distinctive of art at the expense of broader artistic values. It is argued that artistic appreciation and creativity involve not just skills but excellences of character. The nature of particular artistic or appreciative virtues and vices are briefly explored, such as snobbery, aestheticism and creativity, (...)
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