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  1.  30
    Denis Dutton (2009). The Art Instinct: Beauty, Pleasure, & Human Evolution. Bloomsbury Press.
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
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  2.  53
    Denis Dutton (2006). A Naturalist Definition of Art. Journal of Aesthetics and Art Criticism 64 (3):367–377.
    Aesthetic theoriesmayclaim universality, but they are normally conditioned by the aesthetic issues and debates of their own times. Plato and Aristo- tle were motivated both to account for the Greek arts of their day and to connect aesthetics to their general metaphysics and theories of value. Closer to our time, asNo¨el Carroll observes, the theories of Clive Bell and R.G. Collingwood can be viewed as “defenses of emerging avant-garde practices— neoimpressionism, on the one hand, and the mod- ernist poetics of (...)
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  3. Denis Dutton (2003). Authenticity in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press 258--274.
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  4.  12
    Denis Dutton (2010). The Art Instinct: Beauty, Pleasure, and Human Evolution. OUP Oxford.
    The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.
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  5.  16
    Karen Bardsley, Denis Dutton & Michael Krausz (eds.) (2009). The Idea of Creativity. Brill.
    Seventeen philosophical thinkers ask: What is creativity? What are the criteria of creativity? Should we assign logical priority to creative persons, processes, or products? How do various forms of creativity relate to different domains of human activity?
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  6. Denis Dutton (1979). Artistic Crimes: The Problem of Forgery in the Arts. British Journal of Aesthetics 19 (4):302-314.
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  7.  49
    Denis Dutton (2003). Aesthetics and Evolutionary Psychology. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford
  8.  78
    Denis Dutton (2001). Aesthetic Universals. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge 203--214.
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  9.  57
    Denis Dutton (1994). Kant and the Conditions of Artistic Beauty. British Journal of Aesthetics 34 (3):226-239.
  10.  24
    Denis Dutton (1993). Tribal Art and Artifact. Journal of Aesthetics and Art Criticism 51 (1):13-21.
    Europeans seeking to understand tribal arts face obvious problems of comprehending the histories, values, and ideas of vastly remote cultures. In this respect the issues faced in understanding tribal art (or folk art, primitive art, traditional art, third or fourth-world art — none of these designations is ideal) are not much different from those encountered in trying to comprehend the distant art of “our own” culture, for instance, the art of medieval Europe. But in the case of tribal or so-called (...)
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  11.  73
    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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  12.  55
    Denis Dutton, Why Intentionalism Won't Go Away.
    Considering the philosophic intelligence that has set out to discredit it, intentionalism in critical interpretation has shown an uncanny resilience. Beginning perhaps most explicitly with the New Criticism, continuing through the analytic tradition in philosophy, and culminating most recently in deconstructionism, philosophers and literary theorists have kept under sustained attack the notion that authorial intention can provide a guide to interpretation, a criterion of textual meaning, or a standard for the validation of criticism. Yet intentionalist criticism still has avid theoretical (...)
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  13.  15
    Gregory Currie & Denis Dutton (1985). The Forger's Art. Forgery and the Philosophy of Art. Philosophical Quarterly 35 (141):435.
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  14.  51
    Denis Dutton (1973). Criticism and Method. British Journal of Aesthetics 13 (3):232-242.
    The charge that a particular critical remark is “irrelevant” to its object is one of the most frequently heard in discussion and debate among critics. Frequently heard because frequently true: there has never been a shortage of criticism which aimlessly relates the work to the artist’s biography, or invokes inappropriate artistic standards, or employs pointless historical speculation, or describes the critic’s own foggy reveries to misdirect our attention and obscure the essential significance of the object before us. But even if (...)
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  15.  50
    Denis Dutton, Forgery and Plagiarism.
    FORGERY and PLAGIARISM are both forms of fraud. In committing art forgery I claim my work is by another person. As a plagiarist, I claim another person’s work is my own. In forgery, someone’s name is stolen in order to add value to the wrong work; in plagiarism someone’s work is stolen in order to give credit to the wrong author.
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  16.  9
    Denis Dutton (2000). Art and Sexual Selection. Philosophy and Literature 24 (2):512-521.
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  17.  33
    Denis Dutton (2004). The Pleasures of Fiction. Philosophy and Literature 28 (2):453-466.
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  18.  49
    Denis Dutton, Delusions of Postmodernism.
    That postmodernism is a general cultural mood and a style in art, architecture, and literature is uncontroversial. But does postmodernism present a coherent intellectual doctrine or theory of politics, art, or life? In the discussion which follows, I will concentrate on two aspects of the intellectual pretensions of postmodernism. First, I examine the postmodernist claim that to justify the idea that the postmodern world is characterized by a general indeterminacy of meaning. Next I will look at aspects of the postmodernist (...)
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  19.  25
    Denis Dutton (1977). Plausibility and Aesthetic Interpretation. Canadian Journal of Philosophy 7 (2):327 - 340.
    If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances (...)
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  20.  15
    Denis Dutton (2001). What is Genius? Philosophy and Literature 25 (1):181-196.
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  21.  13
    Denis Dutton (1992). Beauty Is Fun and Fun Beauty —or Is That All Ye Need to Know? Philosophy and Literature 16 (2):432-437.
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  22.  33
    Denis Dutton, Kitsch.
    “Kitsch” has sometimes been used (for example, by Harold Rosenberg) to refer to virtually any form of popular art or entertainment, especially when sentimental. But though much popular art is cheap and crude, it is at least direct and unpretentious. On the other hand, a persistent theme in the history of the usage of “kitsch,” going back to the word’s mid-European origins, is pretentiousness, especially in reference to objects that ape whatever is conventionally viewed as high art. As Arnold Hauser (...)
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  23.  19
    Denis Dutton (1974). To Understand It on its Own Terms. Philosophy and Phenomenological Research 35 (2):246-256.
    We commonly hear it said that a work of art must be understood “on its own terms,” and that phrase is used in other contexts as well; people, especially people very different from ourselves, are said to have to be understood on their own terms. But what is the meaning of the expression “on its/their own terms?” Note that we do not say of every possible object of understanding that it must be understood on its own terms. The statement, “Chemistry (...)
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  24.  5
    Denis Dutton (1993). Faking Your Way to Tenure. Philosophy and Literature 17 (2):402-409.
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  25.  10
    Denis Dutton (1992). Decontextualized Crab; Nietzsche Dreams of Detroit. Philosophy and Literature 16 (1):239-249.
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  26.  24
    Denis Dutton, Han Van Meegeren.
    The most notorious and celebrated forger of the twentieth century, Han van Meegeren (1889-1947), was born in the Dutch town of Deventer. He was fascinated by drawing as a child, and pursued it despite his father’s disapproval, sometimes spending all his pocket money on art supplies. In high school he was able finally to receive professional instruction, and went on to study architecture, according to his father’s wishes. In 1911 he married Anna de Voogt. His artistic talents were recognized when (...)
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  27.  8
    Denis Dutton (2002). A Hanging Judge. Philosophy and Literature 26 (1):224-238.
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  28.  8
    Denis Dutton (1990). Bookmarks. Philosophy and Literature 14 (2):446-454.
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  29.  25
    Denis Dutton, The Experience of Art is Paradise Regained: Kant on Free and Dependent Beauty.
    In the Critique of Judgment, Kant presents what is possibly the most powerful aesthetic theory ever devised. It is not the clearest, and even when it comes clear, it is only after much toil. But its contradictions and complexities — apparent or real — reflect and disclose to great depth the very complexities and paradoxes that infect our artistic and aesthetic lives. Later aestheticians have with greater sophistication directed attention to the social and historical aspects of institutionalised fine arts, but (...)
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  30.  18
    Anthony J. Cascardi & Denis Dutton, Why Intentionalism Won't Go Away.
    Considering the philosophic intelligence that has set out to discredit it, intentionalism in critical interpretation has shown an uncanny resilience. Beginning perhaps most explicitly with the New Criticism, continuing through the analytic tradition in philosophy, and culminating most recently in deconstructionism, philosophers and literary theorists have kept under sustained attack the notion that authorial intention can provide a guide to interpretation, a criterion of textual meaning, or a standard for the validation of criticism. Yet intentionalist criticism still has avid theoretical (...)
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  31.  13
    Denis Dutton (1994). Fire is Hot. Hunger is Bad. Babies Are Good. Philosophy and Literature 18 (1):199-210.
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  32.  7
    Denis Dutton (1999). Sociobiology and Art. Philosophy and Literature 23 (2):451-457.
  33.  16
    Denis Dutton (1984). Understanding Human Action. Philosophical Books 25 (1):38-41.
  34.  3
    Denis Dutton (1978). Making Sense of Literature (Review). Philosophy and Literature 2 (2):258-265.
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  35.  6
    Denis Dutton (1984). Darwinism Defended. Teaching Philosophy 7 (2):173-174.
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  36.  10
    Denis Dutton (1993). What's Wrong with Philosophers? Philosophy and Literature 17 (1):185-192.
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  37.  5
    Denis Dutton (2000). Mad About Flowers. Philosophy and Literature 24 (1):249-260.
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  38.  14
    Denis Dutton, Tribal Art.
    Tribal art , also termed ethnographic art or, in an expression seldom used today, primitive art , is the art of small-scale nonliterate societies. Some of the traditional artifacts to which the term refers may not be art in any obvious European sense, and many of the cultures where they occur may not strictly-speaking be tribal in social structure. The rubric nevertheless persists because the arts produced by small-scale cultures share significant elements in common. The tribal arts which have gained (...)
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  39.  12
    Denis Dutton, Mythologies of Tribal Art.
    Forty years ago Roland Barthes defined a mythology as those “falsely obvious” ideas which an age so takes for granted that it is unaware of its own belief. An illustration of what he meant can be seen in his 1957 critique of the photographic exhibition, The Family of Man . Barthes declares that the myth it promotes stresses exoticism, complacently projecting a Babel of human diversity over the globe. From this image of diversity a pluralistic humanism “is magically produced: man (...)
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  40.  11
    Denis Dutton, Art Hoaxes.
    As much as many other human enterprises, the art world today is fuelled by pride, greed, and ambition. Artists and art dealers hope for recognition and wealth, while art collectors often acquire works less for their intrinsic aesthetic merit than for their investment potential. In such a climate of values and desires, it is not surprising that poseurs and frauds will flourish. For works of painting and sculpture are material objects that derive their often immense monetary value generally from two (...)
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  41.  10
    Denis Dutton (1995). Astrology, Computers, and the Volksgeist. Philosophy and Literature 19 (2):424-434.
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  42.  11
    Denis Dutton (1995). The Empire Writes Back, with a Vengeance. Philosophy and Literature 19 (1):198-205.
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  43.  6
    Denis Dutton (2011). Uma definição naturalista da arte. Critica.
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  44.  14
    Denis Dutton (2003). Darwin and Political Theory. Philosophy and Literature 27 (1):241-254.
    Evolutionary psychology has much to say about the origins of human political structures. Paul Rubin argues persuasively that given our hard-wired sociality, democracy is the best, most stable political arrangement we can hope for. He is correct in this view.
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  45.  8
    Denis Dutton & Garry Hagberg (2002). War of the Worldviews. Philosophy and Literature 26 (1):iii-iv.
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  46.  12
    Denis Dutton, Freedom and the Theatre of Ideas.
    I want to address a number of interrelated issues that confront the modern theatre. My main concern is to ask, why should we have a theatre of ideas ? The theatre of entertainment is unproblematic: though it has an important place in cultural life, it is undemanding, having the essential purpose of amusement. The theatre of ideas, on the other hand, is a theatre that provokes us to think about morality, human relations, history, or politics. What place does a theatre (...)
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  47.  11
    Denis Dutton (1997). Please Shoot the Piano Player!: The Debate Over David Helfgott. Philosophy and Literature 21 (2):332-391.
  48.  9
    Denis Dutton (2003). Art of the Piano. Philosophy and Literature 27 (2):485-494.
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  49.  8
    Denis Dutton, The Cold Reading Technique.
    That there is a sucker born every minute is the cynical slogan most often attributed to the great nineteenth-century circus entreprenuer Phineas Taylor Barnum. Though there is in fact no record that he ever made such a remark, Barnum did claim that his success depended on providing in his shows “a little something for everybody.” Both the cynicism and his recipe for success are relevant to understanding the persistent tendency for people to embrace fake personality descriptions as uniquely their own. (...)
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  50.  6
    Denis Dutton (1994). Internet Life, African Art. Philosophy and Literature 18 (2):423-434.
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