Search results for 'Art and morals. [from old catalog' (try it on Scholar)

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  1. Harold Taylor (1960). Art and the Intellect. New York, Published by the Museum of Modern Art;.score: 819.0
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  2. D. C. Kurtz, New Orleans Museum of Art & H. A. Shapiro (1983). Art, Myth and Culture: Greek Vases From Southern Collections. Journal of Hellenic Studies 103:220.score: 780.0
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  3. Jerome[from old catalog] Stolnitz (1960). Aesthetics and Philosophy of Art Criticism. Boston, Houghton Mifflin.score: 554.4
     
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  4. Mary Jeanne[from old catalog] File (1958). A Critical Analysis of Current Concepts of Art in American Higher Education. Washington, Catholic University of America Press.score: 549.6
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  5. Evelyn[from old catalog] Hay (1942). Greek Spirituality. Essex, the C.W. Daniel Company Ltd..score: 518.4
     
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  6. William Vincent Evans (1939). Belief and Art. [Chicago].score: 434.4
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  7. T. E. Hulme (1961). Speculations. New York, Harcourt, Brace.score: 410.4
    . Ill BERGSONS THEORY OF ART . . .141 THE PHILOSOPHY OF INTENSIVE MANIFOLDS I I CINDERS ..... 215 APPENDICES A. REFLECTIONS ON VIOLENCE . . 249 B. PLAN FOR A ...
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  8. Henry Charles Link (1947). The Rediscovery of Morals. New York, E. P. Dutton & Company, Inc..score: 266.4
     
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  9. Edgar Frederick[from old catalog] Carritt (1935). Morals and Politics: Theories of Their Relation From Hobbes and Spinoza to Marx and Bosanquet. Oxford, the Clarendon Press.score: 259.2
  10. Ben Segal (2011). The Official Catalog of Potential Literature Selections. Continent 1 (2):136-140.score: 228.0
    continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each (...)
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  11. David Carrier (2001). Art Museums, Old Paintings, and Our Knowledge of the Past. History and Theory 40 (2):170–189.score: 189.0
    Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context (...)
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  12. Lucia Nixon (2007). Art and Archaeology (B.J.) Hayden Ed. Reports on the Vrokastro Area, Eastern Crete 1–3 (1: Catalogue of Pottery From the Bronze and Early Iron Age Settlement of Vrokastro in the Collections of the University of Pennsylvania Museum of Archaeology and Anthropology and the Archaeological Museum, Herakleion, Crete; 2: The Settlement History of the Vrokastro Area and Related Studies; 3: The Vrokastro Regional Survey Project: Sites and Pottery). Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, 2003–2005. Vol.1: Pp. Xiv + 177, Illus. $59.95. 9781931707268. Vol.2: Pp. Xxiv + 512, Illus. + CD. $95. 9781931707596. Vol.3: Pp. Xviii + 269, Illus. + CD. $75. 9781931707794. [REVIEW] Journal of Hellenic Studies 127:210-.score: 186.0
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  13. David Hunt (1989). Mischievous Digging Elizabeth Goring: A Mischievous Pastime. Digging in Cyprus in the Nineteenth Century. With a Catalogue of the Exhibition 'Aphrodite's Island: Art and Archaeology of Ancient Cyprus' Held in the Royal Museum of Scotland, Edinburgh From 14 April to 4 September 1988. Pp. Viii + 98; 120 Illustrations. Edinburgh. National Museums of Scotland in Association with the Bank of Cyprus Cultural Foundation, 1988. Paper, £6.95. [REVIEW] The Classical Review 39 (01):111-112.score: 186.0
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  14. Léo[from old catalog] Bronstein (1953). Fragments of Life, Metaphysics and Art. New York, B. Wheelwright Co..score: 175.2
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  15. James Joachim[from old catalog] Davis (1956). Art for Everyman. New York, Vantage Press.score: 175.2
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  16. Andreas E. [from old catalog] Kapogiannopoulos (1970). Ho Erōs Hōs Biologikon Kai Koinōnikon Problēma.score: 171.2
  17. Helene[from old catalog] Stucki (1971). Dankbares Leben. (Chur,Bischofberger, Buchdr. Untertor.score: 171.2
     
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  18. Judith Oliver (1983). Jane Hayward and Walter Cahn, Et Al., Radiance and Reflection: Medieval Art From the Raymond Pitcairn Collection. Catalogue of Exhibit at The Cloisters, Metropolitan Museum of Art, New York, 25 February-15 September 1982. New York: Metropolitan Museum of Art, 1982. Paper. Pp. 261; 16 Color Plates, 169 Black-and-White Plates. $25. [REVIEW] Speculum 58 (4):1120-1121.score: 162.0
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  19. David Buckton (1998). Helen C. Evans and William D. Wixom, Eds., The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843–1261. Catalogue Accompanying the Exhibition “The Glory of Byzantium” at the Metropolitan Museum of Art From March 11 Through July 6, 1997. New York: Metropolitan Museum of Art, 1997. Pp. Xxviii, 574; Color Frontispiece, Plans, 1 Map, and Many Black-and-White and Color Figures. $85. Distributed by Harry N. Abrams, Inc., New York. [REVIEW] Speculum 73 (4):1134-1136.score: 162.0
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  20. Grant Tavinor (2009). The Art of Videogames. Wiley-Blackwell.score: 152.0
    The new art of videogames -- What are videogames anyway? -- On definition -- Theories of gaming -- A definition of videogames -- Videogames and fiction -- From tennis for two to worlds of warcraft -- Imaginary worlds and works of fiction -- Fictional or virtual? -- Interactive fiction -- Stepping into fictional worlds -- Welcome to rapture -- Meet niko bellic -- Experiencing game worlds -- Acting in game worlds -- Games through fiction -- The nature of gaming -- (...)
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  21. Sarab[from old catalog] Dyal (1963). A Hand Book on Morals & Ethics. Ambala Cantt.,National Pub. House.score: 151.2
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  22. John W. R. [from old catalog] Purser (1937). Art and Truth. Jackson, Son & Company, Publishers to the University.score: 151.2
     
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  23. M. [from old catalog] Timur (1956). The Theory of Morals. London, Elek Books.score: 151.2
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  24. Morris[from old catalog] Weitz (1950/1964). Philosophy of the Arts. Cambridge, Harvard University Press.score: 151.2
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  25. John Carey (2006). What Good Are the Arts? Oxford University Press.score: 150.0
    Does strolling through an art museum, admiring the old masters, improve us morally and spiritually? Would government subsidies of "high art" (such as big-city opera houses) be better spent on local community art projects? In What Good are the Arts? John Carey--one of Britain's most respected literary critics--offers a delightfully skeptical look at the nature of art. In particular, he cuts through the cant surrounding the fine arts, debunking claims that the arts make us better people or that judgements about (...)
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  26. Matthew Kieran (2010). Teaching & Learning Guide For: Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value. Philosophy Compass 5 (5):426-431.score: 139.8
    Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter-relations between the appreciative and ethical character of works as art. Consideration of these issues has a (...)
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  27. Eugen[from old catalog] Šimunek (1976). Filozofické Problémy Estetiky. Pravda.score: 139.2
     
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  28. Sergeĭ Efimovich[from old catalog] Mozhni͡agun (1970). O Modernizme.score: 139.2
     
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  29. Boris Mihaĭlovich[from old catalog] Nemenskiĭ (1967). Trevogi Bolʹshogo Puti.score: 139.2
     
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  30. Pierre Maxime[from old catalog] Schuhl (1963). Imaginer Et Réaliser. Paris, Presses Universitaires De France.score: 139.2
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  31. Otfried Höffe (2010). Can Virtue Make Us Happy?: The Art of Living and Morality. Northwestern University Press.score: 138.6
    Ethics plus theory of action -- Thinking the good through -- Fallacious conclusions -- Animal morabile -- Action -- The principle of happiness: eudaimonia -- The happiness of aspiration -- The art of living -- Four life goals -- Virtue -- Prudence, composure, selflessness -- Wisdom rather than calculation -- Does virtue make one happy? -- Euthanasia of morals? -- From an ethic of teleological aspiration to an ethic of the will -- The principle of freedom: autonomy -- Locating moral (...)
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  32. Jochen Briesen (2014). Pictorial Art and Epistemic Aims. In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Publishing. 11-28.score: 135.0
    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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  33. Skaidra Trilupaityte (2007). Totalitarianism and the Problem of Soviet Art Evaluation: The Lithuanian Case. Studies in East European Thought 59 (4):261 - 280.score: 135.0
    By taking into account dissident/political and art historical interpretations of Soviet art, I analyze how polemics about totalitarianism in the West, which generally corresponded with Cold War debates and Eastern European dissident thought, shaped the post-Soviet evaluations of national artistic legacies. It is argued that the political relationship with the totalitarian past, like in many post-socialist areas where the immediate past was subjected to radical re-evaluation, affected Lithuanian artists’ and critics’ attitude towards local Soviet art. Because of an obvious lack (...)
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  34. Paul Palmarossa (2006). From Principles to Profit: The Art of Moral Management. Arcturus.score: 135.0
     
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  35. Laurence Sears (1932). Responsibility, its Development Through Punishment and Reward. New York, Columbia University Press.score: 132.8
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  36. Paul Crowther (1989). The Kantian Sublime: From Morality to Art. Oxford University Press.score: 132.0
    With this, the first volume in the Oxford Philosophical Monographs series, Paul Crowther breaks new ground by providing what is probably the first study in any language to be devoted exclusively to Kant's theory of the sublime. It fills a gap in an area of scholarship where Kant makes crucial links between morality and aesthetics and will be particularly useful for Continental philosophers, among whom the Kantian sublime is currently receiving widespread discussion in debates about the nature of postmodernism. Crowther's (...)
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  37. Mary A. McCloskey (1990). The Kantian Sublime: From Morality to Art By Paul Crowther Oxford: The Clarendon Press, 1989, X + 178 Pp., £22.50. [REVIEW] Philosophy 65 (253):380-.score: 129.0
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  38. Salim Kemal (1991). The Kantian Sublime: From Morality to Art (Review). Journal of the History of Philosophy 29 (3):500-502.score: 129.0
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  39. R. Ragghianti (1995). Gleanings From Croce, Benedetto on the 100th-Anniversary of The'revue de Metaphysique Et Morale'-Selected Correspondence by Croce and Others and a Resume of a 1908 Croce Lecture on Pure Intuition and the Lyrical Quality of Art. [REVIEW] Giornale Critico Della Filosofia Italiana 15 (1):65-98.score: 129.0
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  40. Eva Schaper (1991). The Kantian Sublime: From Morality to Art. Philosophical Books 32 (2):85-86.score: 129.0
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  41. Eero Tarasti (1998). From Aesthetics to Ethics: Semiotic Observations on the Moral Aspects of Art, Especially Music. Poznan Studies in the Philosophy of the Sciences and the Humanities 62:363-374.score: 129.0
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  42. Gert[from old catalog] Borgenstierna (1965). Moral Och Ord. Stockholm, Diakonistyrelsen.score: 127.2
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  43. Raymond Vincent[from old catalog] Holt (1944). Changing Moral Standards. London, Lindsey Press.score: 127.2
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  44. Paul[from old catalog] Ramsey (1946). The Idealistic View of Moral Evil. [N.P..score: 127.2
     
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  45. Finney, A. Patrick & [From Old Catalog] (1956). Moral Problems in Hospital Practise. St. Louis, Herder.score: 126.4
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  46. Gregory Schufreider (2011). The Art of Truth. Research in Phenomenology 40 (3):331-362.score: 126.0
    In The Truth in Painting , Derrida insists that Heidegger's treatment of “a famous picture by Van Gogh” marks “a moment of pathetic collapse.” While we would agree, we would insist that this example does not render Heidegger's entire philosophy of art suspect. Instead, if his reading of Van Gogh's painting is “derisory and symptomatic,” it is nonetheless “significant,” if only insofar as it provides an indication of Heidegger's underestimation of the plastic arts in favor of the elevation of poetry—an (...)
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  47. Arlene Judith Klotzko (2004). A Clone of Your Own?: The Science and Ethics of Cloning. Oxford University Press.score: 126.0
    Someday soon (if it hasn't happened in secret already), a human will be cloned, and mankind will embark on a scientific and moral journey whose destination cannot be foretold. In Copycats: The Science and Ethics of Cloning, Arlene Judith Klotzko describes the new world of possibilities that can be glimpsed over the horizon. In a lucid and engaging narrative, she explains that the technology to create clones of living beings already exists, inaugurated in 1996 by Dolly the sheep, the first (...)
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  48. D. W. Zaidel & M. Nadal (2011). Brain Intersections of Aesthetics and Morals Perspectives From Biology, Neuroscience, and Evolution. Perspectives in Biology and Medicine 54 (3):367-380.score: 126.0
    Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has been (...)
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  49. Claes Entzenberg (2014). The Art to End All Arts. Nordic Journal of Aesthetics 23 (46).score: 126.0
    The death of art has been a notion used in connection with the development and progress of art. This view of the development of art, the movement from one position to another, can go on forever. From another view, we see art as part of a narration, which makes the death of art absolute and final, even though art is still produced (Hegel’s version). In our time, the American philosopher A. C. Danto uses Hegel’s developmental view on history to explain (...)
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  50. Christian Helmut Wenzel (2009). Kant's Aesthetics: Overview and Recent Literature. Philosophy Compass 4 (3):380-406.score: 118.0
    In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...)
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