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  1. 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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  2. 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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  3. 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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  4. Derek Allan (2007). Art, Time and Metamorphosis. In Jan Lloyd Jones (ed.), Art and Time. Australian Scholarly Publishing. 1.
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  5. Derek Allan (2003). André Malraux and the Challenge to Aesthetics. Journal of European Studies 33 (128): 23-40.
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  6. 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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  7. Sondra Bacharach (2007). The Philosophy of Art. By Davies, Stephen. Journal of Aesthetics and Art Criticism 65 (2):240–242.
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  8. Cyril Barrett (1982). The Morality of Artistic Production. Journal of Aesthetics and Art Criticism 41 (2):137-144.
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  9. 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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  10. Christopher Bartel (2005). Art and Value. [REVIEW] British Journal of Aesthetics 45 (1):94-96.
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  11. 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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  12. 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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  13. Alessandro Bertinetto (2006). Arte como desrealización. Daimon 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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  14. 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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  15. 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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  16. 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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  17. 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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  18. 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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  19. 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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  20. 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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  21. 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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  22. 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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  23. 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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  24. A. Edgar (2012). Who Needs Classical Music? Cultural Choice and Musical Value. British Journal of Aesthetics 52 (2):209-211.
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  25. Gene Fendt (1995). Resolution, Catharsis, Culture: As You Like It. Philosophy and Literature 19 (2):248-260.
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  26. I. Ground (forthcoming). Reflexions Al Voltant de l'Art Contemporani. Quaderns De Filosofia I Ciència: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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  27. 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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  28. John Kemp (1964). The Work of Art and the Artist's Intentions. British Journal of Aesthetics 4 (2):146-154.
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  29. Carolyn Korsmeyer (ed.) (1998). Aesthetics: The Big Questions. Blackwell Publishers.
    This collection of essays assembles classic and contemporary texts to present the tradition of aesthetic theory and the kinds of questions and challenges that ...
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  30. Lawrence Lengbeyer (2005). Altering Artworks. Philosophy in the Contemporary World 12 (2):53-61.
    The grounds for recognizing that artists possess a personal “moral right of integrity” that would entitle them to prevent others from modifying their works are weak. There is, however, an important (and legislation-worthy) public interest in protecting highly-valued entities, including at least some works of art, from permanently destructive transformations.
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  31. Lawrence Lengbeyer (2005). Altering Artworks: Creators' Moral Rights Vs. The Public Good. Philosophy in the Contemporary World 12 (2):53-61.
    The grounds for recognizing that artists possess a personal “moral right of integrity” that would entitle them to prevent others from modifying their works are weak. There is, however, an important (and legislation-worthy) public interest in protecting highly-valued entities, including at least some works of art, from permanently destructive transformations.
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  32. Jerrold Levinson (1996). Art, Value, and Philosophy. Mind 105 (420):667-682.
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  33. Dominic Mciver Lopes (2007). The Aesthetic Function of Art. Philosophy and Phenomenological Research 75 (2):484–487.
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  34. Hans Maes (ed.) (2013). Pornographic Art and the Aesthetics of Pornography. Palgrave Macmillan.
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  35. Hans Maes (2012). The Arts Vs Art with a Capital "A&Quot;: Interview with Noël Carroll. Esthetica.
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  36. 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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  37. André Malraux (1960). The Metamorphosis of the Gods. Garden City, N.Y.,Doubleday.
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  38. Samantha Matherne (2013). The Inclusive Interpretation of Kant's Aesthetic Ideas. British Journal of Aesthetics 53 (1):21-39.
    In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according to which they can (...)
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  39. Mohan Matthen, Play, Skill, and the Origins of Perceptual Art.
    Art is universal across cultures. Yet, it is energetically expensive. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain pleasure in contemplation, not value extracted from the (...)
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  40. Mohan Matthen (forthcoming). How to Explain Pleasure: Some Critical Remarks About Davies. British Journal of Aesthetics.
    In these critical remarks about Stephen Davies' The Artful Species, I outline the evolved roles of (a) emotions/drives/appetites, and (b) "telic" pleasure, which results from getting something beneficial. I argue that, contrary to Davies, aesthetic appreciation does not fall into either of the above categories (as normally understood). That is, aesthetic appreciation can neither be a drive to possess its object, nor pleasure in possessing that object. Rather, it is pleasure in contemplating that object. Evolutionary accounts fail, therefore, if they (...)
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  41. Patrick Maynard (2012). What's So Funny? Comic Content in Depiction. In Cook Meskin (ed.), The Art of Comics: A Philosophical Approach. Wiley-Blackwell.
    This paper addresses standard questions regarding comics and the arts (comics and fine arts, image and word combinations), then poses and addresses the neglected, but deeper and wider--thus philosophical--question, of how depictions, not just words, can have mental contents at all, including light, funny, scathing, comic ones.
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  42. Patrick Maynard (2012). Arts, Agents, Artifacts: Photography's Automatisms. Critical Inquiry 38 (4):727-745.
    Recent advances in paleoarchaeology show why nothing in the Tate Modern, where a conference on "Agency & Automatism" took place, challenges the roots of 'the idea of the fine arts' (Kristeller) as high levels of craft, aesthetics, mimesis and mental expression, as exemplifying cultures: it is by them that we define our species. This paper identifies and deals with resistances, early and late, to photographic fine art as based on concerns about automatism reducing human agency--that is, mental expression--then offers the (...)
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  43. Patrick Maynard (2008). Scales of Space and Time in Photography: Perception Points Two Ways. In Scott Walden (ed.), Philosophy and Photography.
    Combining ideas of perceptual psychologists J.J. Gibson and J.E. Cutting, moving on to answer the arguments of the "Naysayers" against autonomous and artistic meaning in photographs.
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  44. Patrick Maynard (2005). Drawing Distinctions: The Varieties of Graphic Expression. Cornell University Press.
    First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi Bet Kappa (...)
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  45. 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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  46. Kevin Melchionne (1998). Artistic Dropouts. In Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions.
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  47. Alex Neill & Aaron Ridley (eds.) (2002). Arguing About Art, Second Edition. Routledge.
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  48. Jonathan Neufeld (2006). Review of Matthew Kieran, Revealing Art. [REVIEW] Notre Dame Philosophical Reviews 2006 (2).
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  49. Andrea Sauchelli (2014). Horror and Mood. American Philosophical Quarterly 51 (1):39-50.
    Horror is a popular genre or style in many different forms of art. In this essay I propose a definition of horror that is meant to capture our intuitions about the extension of this category over a variety of forms of art. In particular, I claim that horror is individuated by a specific atmosphere and mood, rather than by any singular entity in the horror representation.
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  50. Andrea Sauchelli (2013). La Critica Etica dell'Arte. Aphex 8.
    Alcune opere d'arte manifestano (o suggeriscono di assumere) prospettive morali dubbie e, in certi casi, chiaramente deprecabili. Ad esempio, il documentario propagandista Il Trionfo della Volontà di Leni Riefensthal esprime (e cerca di evocare) ammirazione nei confronti di Adolf Hitler. Nonostante ciò, Il Trionfo della Volontà è considerato un capolavoro nel genere dei documentari. Questo e molti altri esempi simili suggeriscono le seguenti domande: É possibile considerare un'opera d'arte un capolavoro artistico e, allo stesso tempo, un esempio di immoralità? La (...)
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