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

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  1. 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: 1260.0
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  2. Harold Taylor (1960). Art and the Intellect. New York, Published by the Museum of Modern Art;.score: 849.0
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  3. Jerome[from old catalog] Stolnitz (1960). Aesthetics and Philosophy of Art Criticism. Boston, Houghton Mifflin.score: 578.4
     
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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: 573.6
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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: 458.4
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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. 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: 355.2
  9. 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: 310.0
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  10. 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: 310.0
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  11. 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: 310.0
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  12. 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: 310.0
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  13. Henry Charles Link (1947). The Rediscovery of Morals. New York, E. P. Dutton & Company, Inc..score: 290.4
     
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  14. David Carrier (2001). Art Museums, Old Paintings, and Our Knowledge of the Past. History and Theory 40 (2):170–189.score: 261.0
    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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  15. Ben Segal (2011). The Official Catalog of Potential Literature Selections. Continent 1 (2):136-140.score: 252.0
    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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  16. Paul Palmarossa (2006). From Principles to Profit: The Art of Moral Management. Arcturus.score: 221.0
     
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  17. Paul Crowther (1989). The Kantian Sublime: From Morality to Art. Oxford University Press.score: 218.0
    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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  18. 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: 215.0
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  19. 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: 215.0
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  20. Salim Kemal (1991). The Kantian Sublime: From Morality to Art (Review). Journal of the History of Philosophy 29 (3):500-502.score: 215.0
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  21. 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: 215.0
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  22. Eva Schaper (1991). The Kantian Sublime: From Morality to Art. Philosophical Books 32 (2):85-86.score: 215.0
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  23. Léo[from old catalog] Bronstein (1953). Fragments of Life, Metaphysics and Art. New York, B. Wheelwright Co..score: 199.2
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  24. James Joachim[from old catalog] Davis (1956). Art for Everyman. New York, Vantage Press.score: 199.2
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  25. 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: 198.0
    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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  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: 178.2
    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. Sarab[from old catalog] Dyal (1963). A Hand Book on Morals & Ethics. Ambala Cantt.,National Pub. House.score: 175.2
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  28. John W. R. [from old catalog] Purser (1937). Art and Truth. Jackson, Son & Company, Publishers to the University.score: 175.2
     
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  29. M. [from old catalog] Timur (1956). The Theory of Morals. London, Elek Books.score: 175.2
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  30. Otfried Höffe (2010). Can Virtue Make Us Happy?: The Art of Living and Morality. Northwestern University Press.score: 174.6
    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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  31. Grant Tavinor (2009). The Art of Videogames. Wiley-Blackwell.score: 172.0
    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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  32. Andreas E. [from old catalog] Kapogiannopoulos (1970). Ho Erōs Hōs Biologikon Kai Koinōnikon Problēma.score: 171.2
  33. Helene[from old catalog] Stucki (1971). Dankbares Leben. (Chur,Bischofberger, Buchdr. Untertor.score: 171.2
     
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  34. Morris[from old catalog] Weitz (1950/1964). Philosophy of the Arts. Cambridge, Harvard University Press.score: 159.2
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  35. Michael A. Slote (2001). Morals From Motives. Oxford University Press.score: 158.4
    Morals from Motives develops a virtue ethics inspired more by Hume and Hutcheson's moral sentimentalism than by recently-influential Aristotelianism. It argues that a reconfigured and expanded "morality of caring" can offer a general account of right and wrong action as well as social justice. Expanding the frontiers of ethics, it goes on to show how a motive-based "pure" virtue theory can also help us to understand the nature of human well-being and practical reason.
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  36. John Carey (2006). What Good Are the Arts? Oxford University Press.score: 158.0
    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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  37. Paul Crowther (1993). Art and Embodiment: From Aesthetics to Self-Consciousness. Oxford University Press.score: 156.0
    In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing the (...)
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  38. Francis Halsall, Julia Jansen & Tony O'Connor (eds.) (2009). Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.score: 156.0
    Rediscovering Aesthetics brings together prominent international voices from art history, philosophy and artistic practice who reflect on current notions, ...
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  39. Raamy Majeed (forthcoming). From Zombie Art to Dead Art. Think.score: 156.0
    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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  40. Alexa Miller, Michelle Grohe, Shahram Khoshbin & Joel T. Katz (2013). From the Galleries to the Clinic: Applying Art Museum Lessons to Patient Care. [REVIEW] Journal of Medical Humanities 34 (4):433-438.score: 156.0
    Increasingly, medical educators integrate art-viewing into curricular interventions that teach clinical observation—often with local art museum educators. How can cross-disciplinary collaborators explicitly connect the skills learned in the art museum with those used at the bedside? One approach is for educators to align their pedagogical approach using similar teaching methods in the separate contexts of the galleries and the clinic. We describe two linked pedagogical exercises—Visual Thinking Strategies (VTS) in the museum galleries and observation at the bedside—from “Training the Eye: (...)
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  41. Eric R. Kandel (2011). The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain: From Vienna 1900 to the Present. Random House.score: 156.0
    A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...)
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  42. Jochen Briesen (2014). Pictorial Art and Epistemic Aims. In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Publishing. 11-28.score: 153.0
    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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  43. Skaidra Trilupaityte (2007). Totalitarianism and the Problem of Soviet Art Evaluation: The Lithuanian Case. Studies in East European Thought 59 (4):261 - 280.score: 153.0
    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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  44. David Carrier (2002). Rosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism. Praeger.score: 150.0
    Machine generated contents note: Introduction: The Rise of Philosophical Art Criticism 1 -- Chapter 1. In the Beginning Was Formalism 17 -- Chapter 2. The Structuralist Adventure 33 -- Chapter 3. The Historicist, Antiessentialist Definition of Art 55 -- Chapter 4. Resentment and Its Discontents 71 -- Chapter 5. The Deconstruction of Structuralism 87 -- Afterword: The Fate of Philosophical Art Criticism 111.
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  45. Sonia Sedivy (2014). Art From a Wittgensteinian Perspective: Constitutive Norms in Context. Journal of Aesthetics and Art Criticism 72 (1):67-82.score: 150.0
    This article offers a detailed textual reexamination of the ‘family resemblance’ passages to reconsider their implications for understanding art. The reassessment takes into account their broader context in the Philosophical Investigations, including the rule following considerations, and draws on a realist interpretive framework associated principally with the work of Cavell, Diamond, McDowell, and Putnam. Wittgensteinian “realism with a human face” helps us discern that the primary issue is not whether certain concepts are definable, posing a stark opposition between essentialism and (...)
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  46. David Roberts (2006). Staging the Absolute: The Total Work of Art From Wagner to Mallarmé. Thesis Eleven 86 (1):90-106.score: 146.4
    Heidegger places Wagner’s will to the total work of art at the centre of the long 19th century. Nietzsche’s and Mallarmé’s responses to Wagner reflect all the ambiguities of modernism’s myth of absolute creation: the dreams of a new mythology and a new community are shadowed by the knowledge that the gods are nothing more than our fictions. Nietzsche and Mallarmé continue and critically interrogate the two distinct lineages of the total work of art deriving from German romanticism and the (...)
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  47. Anjan Chakravartty, Truth and Representation in Science: Two Inspirations From Art.score: 144.0
    Realists regarding scientific knowledge – those who think that our best scientific representations truly describe both observable and unobservable aspects of the natural world – have special need of a notion of approximate truth. Since theories and models are rarely considered true simpliciter, the realist requires some means of making sense of the claim that they may be false and yet close to the truth, and increasingly so over time. In this paper, I suggest that traditional approaches to approximate truth (...)
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  48. Gregory Schufreider (2011). The Art of Truth. Research in Phenomenology 40 (3):331-362.score: 144.0
    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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  49. Simon O'Sullivan (2009). From Stuttering and Stammering to the Diagram: Deleuze, Bacon and Contemporary Art Practice. Deleuze Studies 3 (2):247-258.score: 144.0
    This article attends to Deleuze and Guattari's idea of a ‘minor literature’ as well as to Deleuze's concepts of the figural, probe-heads and the diagram in relation to Bacon's paintings. The paper asks specifically what might be usefully taken from this Deleuze–Bacon encounter for the expanded field of contemporary art practice.
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  50. Gábor Bács & János Tőzsér (2012). The Works of Art From the Philosophically Innocent Point of View. Hungarian Philosophical Review 57 (4):7-17.score: 144.0
    the Mona Lisa, the Mondscheinsonate, the Chanson d’automne are works of art, the salt shaker on your table, the car in your garage, or the pijamas on your bed are not. the basic question of the metaphysics of works of art is this: what makes a thing a work of art? that is: what sort of property do works of art have in virtue of which they are works of art? or more simply: what sort of property being a work (...)
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