Search results for 'Arts Congresses' (try it on Scholar)

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  1. P. C. (1904). The Congresses of Arts and Sciences at St. Louis. The Monist 14 (5):779 - 783.score: 36.0
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  2. James A. Leith & George Whalley (eds.) (1987). Symbols in Life and Art: The Royal Society of Canada Symposium in Memory of George Whalley. Published for the Royal Society of Canada by Mcgill-Queen's University Press.score: 33.0
    Printbegrænsninger: Der kan printes 10 sider ad gangen og max. 40 sider pr. session.
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  3. James Donald (ed.) (1991). Psychoanalysis and Cultural Theory: Thresholds. St. Martin's Press.score: 30.0
  4. Urbain Vermeulen & D. Smedet (eds.) (1998). Philosophy and Arts in the Islamic World: Proceedings of the Eighteenth Congress of the Union Européenne des Arabisants Et Islamisants Held at the Katholieke Universiteit Leuven, September 3-September 9, 1996. [REVIEW] Uitgeverij Peeters.score: 24.0
    The volume contains 26 contributions to literature, philosophy, linguistics and epigraphy in Islamic culture, ranging from pre-Islamic poetry to contemporary ...
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  5. Floyd Ratliff (ed.) (1985). The Visual Arts and Sciences: A Symposium Held at the American Philosophical Society. The Society.score: 21.0
     
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  6. Matthew Kieran & Dominic Lopes (eds.) (2003). Imagination, Philosophy, and the Arts. Routledge.score: 18.0
    Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. Imagination, Philosophy and the Arts represents the work of fifteen young yet distinguished philosophers of art, who critically examine just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. All new papers, a strong collection on the (...)
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  7. Ronald Bogue (2003). Deleuze on Music, Painting, and the Arts. Routledge.score: 18.0
    Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
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  8. David Davies (2011). Philosophy of the Performing Arts. Wiley-Blackwell.score: 18.0
    This book provides an accessible yet sophisticated introduction to the significant philosophical issues concerning the performing arts.
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  9. Caroline van Eck, James McAllister & Renée van de Vall (eds.) (1995). The Question of Style in Philosophy and the Arts. Cambridge University Press.score: 18.0
    The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist alternative styles of (...)
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  10. Thomas E. Peterson (2010). Badiou, Pedagogy and the Arts. Educational Philosophy and Theory 42 (2):159-176.score: 18.0
    The essay distils from Badiou's writing a pedagogy based on his theories of knowledge and truth, as brought to bear on poetry and the arts. By following Badiou's implicit ontology of learning, which presupposes a dynamic and passionate engagement with a concrete situation, the essay argues that Badiou's view of modernity, in particular, contributes greatly to the educational topic, and offers an alternative teaching paradigm to the outmoded schools of criticism of the 20 th century. It also argues that (...)
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  11. Salim Kemal & Ivan Gaskell (eds.) (2000). Politics and Aesthetics in the Arts. Cambridge University Press.score: 18.0
    This volume brings together new essays from distinguished scholars in a variety of disciplines - philosophy, history, literary studies, art history - to explore various ways in which aesthetics, politics and the arts interact with one another. Politics is an elastic concept, covering an oceanic breadth of mechanisms for conducting relations between empowered groups, and these essays offer a range of perspectives, including nations, classes, and gendered subjects, which examine the imbrication of politics with arts. Together they demonstrate (...)
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  12. Benjamin Rutter (2010). Hegel on the Modern Arts. Cambridge University Press.score: 18.0
    Debates over the 'end of art' have tended to obscure Hegel's work on the arts themselves. Benjamin Rutter opens this study with a defence of art's indispensability to Hegel's conception of modernity; he then seeks to reorient discussion toward the distinctive values of painting, poetry, and the novel. Working carefully through Hegel's four lecture series on aesthetics, he identifies the expressive possibilities particular to each medium. Thus, Dutch genre scenes animate the everyday with an appearance of vitality; metaphor frees (...)
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  13. S. Brent Plate (2005). Walter Benjamin, Religion, and Aesthetics: Rethinking Religion Through the Arts. Routledge.score: 18.0
    Walter Benjamin, Religion, and Aesthetics is an innovative attempt to reconceive the key concepts of religious studies through a reading with, and against, Walter Benjamin. Brent Plate deftly sifts through Benjamin's voluminous writings showing how his concepts of art, allegory, and experience undo traditional religious concepts such as myth, symbol, memory, narrative, creation, and redemption. Recasting religion as religious practice, as process and movement, Plate locates a Benjaminian materialist aesthetics, what the author calls an "allegorical aesthetics," in order to uncover (...)
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  14. Salim Kemal & Ivan Gaskell (eds.) (1993). Explanation and Value in the Arts. Cambridge University Press.score: 18.0
    Explanation and Value in the Arts offers penetrating studies by art historians, literary theorists, and philosophers, of issues central to explaining works of literature and painting. The first chapters look at the sources of interest in the fine arts and point to the intimate relation between aesthetic and other values. The next contributions develop the interaction between value and explanation in the study of the arts, including considerations of the nature of creativity and the principles for the (...)
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  15. Peter Kivy (1997). Philosophies of Arts: An Essay in Differences. Cambridge University Press.score: 18.0
    Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us (...)
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  16. Nina Zaragoza (2002). Rethinking Language Arts: Passion and Practice. Routledgefalmer.score: 18.0
    In Rethinking Language Arts: Passion and Practice, Second Edition , author Nina Zaragoza uses the form of letters to her students to engage pre-service teachers in reevaluating teaching practices. Zaragoza discusses and explains the need for teachers to be decision-makers, reflective thinkers, political beings, and agents of social change in order to create a positive and inclusive classroom setting. This book is both a critical text that deconstructs the way language arts are traditionally taught in our schools as (...)
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  17. Anton Killin (2013). The Arts and Human Nature: Evolutionary Aesthetics and the Evolutionary Status of Art Behaviours. Biology and Philosophy 28 (4):703-718.score: 18.0
    This essay reviews one of the most recent books in a trend of new publications proffering evolutionary theorising about aesthetics and the arts—themes within an increasing literature on aspects of human life and human nature in terms of evolutionary theory. Stephen Davies’ The Artful Species links some of our aesthetic sensibilities with our evolved human nature and critically surveys the interdisciplinary debate regarding the evolutionary status of the arts. Davies’ engaging and accessible writing succeeds in demonstrating the maturity (...)
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  18. Lance Moir & Richard Taffler (2004). Does Corporate Philanthropy Exist?: Business Giving to the Arts in the U.K. [REVIEW] Journal of Business Ethics 54 (2):149 - 161.score: 18.0
    This paper addresses the question of the existence of corporate philanthropy. It proposes a framework for analysing corporate philanthropy along the dimensions of business/society interest and primary/secondary stakeholder focus. The framework is then applied in order to understand business involvement with the arts in the U.K. A unique dataset of 60 texts which describe different firms' involvement with the Arts is analysed using formal content analysis to uncover the motivations for business involvement. Cluster analysis is then used in (...)
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  19. Darryl Reed (2004). Universities and the Promotion of Corporate Responsibility: Reinterpreting the Liberal Arts Tradition. [REVIEW] Journal of Academic Ethics 2 (1):3-41.score: 18.0
    The issue of corporate responsibility has long been discussed in relationship to universities, but generally only in an ad hoc fashion. While the role of universities in teaching business ethics is one theme that has received significant and rather constant attention, other issues tend to be raised only sporadically. Moreover, when issues of corporate responsibility are raised, it is often done on the presumption of some understanding of a liberal arts mandate of the university, a position that has come (...)
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  20. Hugo Münsterberg (1904). The International Congress of Arts and Science. Journal of Philosophy, Psychology and Scientific Methods 1 (1):1-8.score: 18.0
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  21. Barry Allen (forthcoming). Daoism and Chinese Martial Arts. Dao: A Journal of Comparative Philosophy:1-16.score: 18.0
    The now-global phenomenon of Asian martial arts traces back to something that began in China. The idea the Chinese communicated was the dual cultivation of the spiritual and the martial, each perfected in the other, with the proof of perfection being an effortless mastery of violence. I look at one phase of the interaction between Asian martial arts and Chinese thought, with a reading of the Zhuangzi 莊子 and the Daodejing 道德經 from a martial arts perspective. I (...)
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  22. Patrick Maynard (2012). Arts, Agents, Artifacts: Photography's Automatisms. Critical Inquiry 38 (4):727-745.score: 18.0
    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 (...)
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  23. Chozan Niwa (2006). The Demon's Sermon on the Martial Arts and Other Tales. Kodansha International.score: 18.0
    The Demon said to the swordsman, "Fundamentally, man's mind is not without good. It is simply that from the moment he has life, he is always being brought up with perversity. Thus, having no idea that he has gotten used to being soaked in it, he harms his self-nature and falls into evil. Human desire is the root of this perversity." Woven deeply into the martial traditions and folklore of Japan, the fearsome Tengu dwell in the country's mountain forest. Mythical (...)
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  24. Lucien Arréat (1906). A CORRECTION: The Contemporary Development of Diplomacy. A Paper Read Before the International Congress of Arts and Science at St. Louis, on September 23. [REVIEW] The Monist 16 (1):159 - 160.score: 18.0
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  25. Paul Carus (1904). The Congress of Arts and Sciences at St. Louis. The Monist 14 (5):779-783.score: 18.0
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  26. Susan L. Feagin (ed.) (2007). Global Theories of the Arts and Aesthetics. Blackwell.score: 18.0
    This collection of papers focuses on theories and practices in relation to the arts around the globe, in particular, those that have been ignored or marginalized by analytic or Anglo-American aesthetics and philosophy of art. The intention is to explain specific ways that the concepts of the aesthetic and of the arts might be enriched and enhanced. Indeed, in some cases the participation in artistic practices and the experience of art are deeply embedded in one’ s sense of (...)
     
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  27. Dan Flory (1999). The Society for the Philosophic Study of the Contemporary Visual Arts at the Twentieth World Congress of Philosophy. Journal of Value Inquiry 33 (3):411-415.score: 18.0
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  28. Terry Quinn (2012). Invitation to Functional Collaboration: Dynamics of Progress in the Sciences, Technologies, and Arts. Journal of Macrodynamic Analysis 7.score: 18.0
    In all disciplines there is the question of how to promote progress and offset decline. But, what are progress and decline ? For this short article, the main discussion centers on biology. A solution called functional specialization begins to emerge as relevant to all of the sciences, technologies and arts. This introductory article ends with some heuristics on various follow-up issues.
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  29. Hugh J. Silverman (ed.) (1990). Postmodernism: Philosophy and the Arts. Routledge.score: 18.0
    The essays collected here present a cross section of the debates on postmodernism being waged in philosophy and the arts. Some contributors raise general questions about postmodernism, for example, its language and its politics. Others offer specific readings of architecture, painting, literature, theatre, photography, film, and television.
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  30. Dennis J. Sporre (2011). Perceiving the Arts: An Introduction to the Humanities. Pearson.score: 18.0
    Introduction. What are the arts and how do we respond to and evaluate them? -- Pictures : drawing, painting, printmaking, and photography -- Sculpture -- Architecture -- Music -- Literature -- Theatre -- Cinema -- Dance.
     
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  31. Jean-Luc Nancy (2006). Multiple Arts: The Muses Ii. Stanford University Press.score: 16.0
    This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy’s philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of “making,” and outlines the tensions inherent in the faire, the “making” that characterizes the very process of production and thereby the (...)
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  32. O. Blanke & I. Pasqualini (2010). The Riddle of Style Changes in the Visual Arts After Interference with the Right Brain. Frontiers in Human Neuroscience 5:154-154.score: 16.0
    What is visual art? What are paintings? What are films? Although innumerous answers have been proposed to these questions, we here analyze the paintings and films of several visual artists, who suffered from a well-defined neuropsychological deficit, visuo-spatial hemineglect, following vascular stroke to the right brain. We focus our analysis in particular on the oeuvre of Lovis Corinth and Luchino Visconti and point out aspects of their post-stroke paintings and films (that differ from their pre-stroke work) and argue that these (...)
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  33. Richard Allen & Malcolm Turvey (eds.) (2001). Wittgenstein, Theory, and the Arts. Routledge.score: 15.0
    This pioneering work investigates the profound implications of Wittgenstein's philosophy to the practice, theory and criticism of the arts. The essays exemplify Wittgenstein's method of conceptual investigation and highlight his notion of philosophy as a cure.
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  34. David E. W. Fenner (ed.) (1995). Ethics and the Arts: An Anthology. Garland Pub..score: 15.0
    First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
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  35. Gillian Russell (forthcoming). Epistemic Viciousness in the Martial Arts. In Graham Priest & Damon Young (eds.), Martial Arts and Philosophy. Open Court.score: 15.0
    When I was eleven, my form teacher, Mr Howard, showed some of my class how to punch. We were waiting for the rest of the class to finish changing after gym, and he took a stance that I would now call shizentai yoi and snapped his right fist forward into a head-level straight punch, pulling his left back to his side at the same time. Then he punched with his left, pulling back on his right. We all lined up in (...)
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  36. Henk Oosterling & Ewa Płonowska Ziarek (eds.) (2010). Intermedialities: Philosophy, Arts, Politics. Lexington Books.score: 15.0
    At stake here are the political analyses of new modes of being in common that transcend national boundaries, the critique of the new forms of domination that accompany them, and the search for new emancipatory possibilities.
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  37. Horace Meyer Kallen (1943). The Arts and Thomas Jefferson. Ethics 53 (4):269-283.score: 15.0
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  38. David Best (1985). Feeling and Reason in the Arts. Allen & Unwin.score: 15.0
     
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  39. Egbert P. Bos & H. A. Krop (eds.) (1993). John Buridan, a Master of Arts: Some Aspects of His Philosophy: Acts of the Second Symposium Organized by the Dutch Society for Medieval Philosophy Medium Aevum on the Occasion of its 15th Anniversary, Leiden-Amsterdam (Vrije Universiteit), 20-21 June, 1991. [REVIEW] Ingenium Publishers.score: 15.0
  40. Leena Eilittä, Liliane Louvel & Sabine Kim (eds.) (2012). Intermedial Arts: Disrupting, Remembering, and Transforming Media. Cambridge Scholars Pub..score: 15.0
     
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  41. Etienne Gilson (1965/2000). The Arts of the Beautiful. Dalkey Archive Press.score: 15.0
     
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  42. Paul Hallberg (ed.) (1979). The Condition of Man: Proceedings of an International Symposium Held September 8-10, 1978 in Göteborg to Celebrate the 200th Anniversary of the Royal Society of Arts and Sciences of Göteborg. [REVIEW] Vetenskaps- O. Vitterhets-Samhället.score: 15.0
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  43. Sven Rune Havsteen (ed.) (2007). Creations: Medieval Rituals, the Arts, and the Concept of Creation. Marston [Distributor].score: 15.0
     
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  44. Kirsty Johnston (2010). Grafting Orchids and Ugly: Theatre, Disability and Arts-Based Health Research. [REVIEW] Journal of Medical Humanities 31 (4):279-294.score: 15.0
    Theatre-based health policy research is an emerging field, and this article investigates the work of one of its leaders. In 2005, prominent medical geneticist and playwright Jeff Nisker and his collaborators produced Orchids, his play concerning pre-implantation genetic diagnosis, to research theatre as a tool for engaging citizens in health policy development. Juxtaposing Orchids with a concurrent disability theatre production in Vancouver entitled Ugly, I argue that disability theatre suggests important means for building inclusiveness in this kind of research and (...)
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  45. Herman P. Kauz (1992). A Path to Liberation: A Spiritual and Philosophical Approach to the Martial Arts. Overlook Press.score: 15.0
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  46. Herman Kauz (1977). The Martial Spirit: An Introduction to the Origin, Philosophy, and Psychology of the Martial Arts. Overlook Press.score: 15.0
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  47. J. M. E. Moravcsik & Philip Temko (eds.) (1982). Plato on Beauty, Wisdom, and the Arts. Rowman and Littlefield.score: 15.0
     
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  48. Jason Potts (2007). What's New in the Economics of Arts and Culture? Dialogue 26 (1):8-14.score: 15.0
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  49. Thomas Reid (2005). Thomas Reid on Logic, Rhetoric, and the Fine Arts: Papers on the Culture of the Mind. Pennsylvania State University Press.score: 15.0
  50. Jhoon Rhee (2000). Jhoon Rhee Martial Arts: Philosophy & Life Skills. Jhoon Rhee Foundation for International Leadership.score: 15.0
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