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Profile: Hans Maes (University of Kent at Canterbury)
  1. Hans Maes (2011). Art or Porn: Clear Division or False Dilemma? Philosophy and Literature 35 (1):51-64.
    Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...)
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  2. Hans Maes (2010). Intention, Interpretation and Contemporary Visual Art. British Journal of Aesthetics 50 (2):121-138.
    The role of the artist's intention in the interpretation of art has been the topic of a lively and ongoing discussion in analytic aesthetics. First, I sketch the current state of this debate, focusing especially on two competing views: actual and hypothetical intentionalism. Secondly, I discuss the search for a suitable test case, that is, a work of art that is interpreted differently by actual and hypothetical intentionalists, with only one of these interpretations being plausible. Many examples from many different (...)
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  3. Hans Maes (2009). Art and Pornography. Journal of Aesthetic Education 43 (3):pp. 107-116.
    This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.
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  4.  26
    Hans Maes & Jerrold Levinson (eds.) (2012). Art & Pornography: Philosophical Essays. Oxford University Press.
    Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...)
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  5.  4
    Hans Maes (2015). What Is a Portrait? British Journal of Aesthetics 55 (3):303-322.
    What I will aim for in answering the title question is extensional adequacy, that is, I will try to formulate an account that captures as much of the extension as possible of what we ordinarily think counts as a portrait. Two philosophers have recently and independently from one another embarked on the same project. Cynthia Freeland’s theory of portraiture, as it is developed in her book, Portraits and Persons, is discussed in Sections 1 and 2 of this paper. Sections 3 (...)
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  6.  83
    Hans Maes (2011). Drawing the Line: Art Versus Pornography. Philosophy Compass 6 (6):385-397.
    Art and pornography are often thought to be mutually exclusive. The present article argues that this popular view is without adequate support. Section 1 looks at some of the classic ways of drawing the distinction between these two domains of representation. In Section 2, it is argued that the classic dichotomies may help to illuminate the differences between certain prototypical instances of pornography and art, but will not serve to justify the claim that pornography and art are fundamentally incompatible. Section (...)
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  7.  56
    Hans Maes (2004). Modesty, Asymmetry, and Hypocrisy. Journal of Value Inquiry 38 (4):485-497.
    Numerous philosophers have tried to define modesty, but none of them succeeds in articulating the necessary and sufficient conditions for this virtue. Moreover, all existing accounts ignore the striking self-other asymmetry that is at the heart of modesty. Drawing on the analogy with the practice of giving presents, I clarify and further investigate this self-other asymmetry. In the process, I show why Bernard Williams is right in pointing out the notorious truth that a modest person does not act under the (...)
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  8.  43
    Hans Maes (2009). Elephants, Microscopes and Free Beauty: Reply to Davies. Philosophical Quarterly 59 (235):332-336.
    According to Stephen Davies, there is no such thing as free beauty. Using actual and imaginary examples, he tries to show that our aesthetic evaluations of objects inevitably pay heed to the kinds to which they belong or in which we judge them to belong. His examples are not as compelling as he thinks, however. Furthermore, nature looked at through a microscope (or a telescope) provides us with a particular class of counter-examples which have not been dealt with by Davies (...)
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  9. Hans Maes & Katrien Schaubroeck (2006). Different Kinds and Aspects of Bullshit. In Hardcastle Reisch (ed.), Bullshit and Philosophy. Open Court
    In this paper, we aim to show that there is a particular kind of bullshit that is not dealt with in Harry Frankfurt’s and G.A. Cohen’s critiques of bullshit. We also point out the evaluative complexity of bullshit. Frankfurt and Cohen both stress its negative and possibly destructive aspects, but one might wonder whether bullshit need always and necessarily be reprehensible. We will argue that there are positive or at least neutral aspects to some kinds of bullshit.
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  10. Hans Maes (2012). The Arts Vs Art with a Capital "A": Interview with Noël Carroll. Esthetica.
     
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  11.  26
    Hans Maes (2007). Een treffende gelijkenis. Over grappen en kunst. Algemeen Nederlands Tijdschrift voor Wijsbegeerte 99 (4):281-296.
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  12. Hans Maes (2008). Challenging Partial Intentionalism. Journal of Visual Arts Practice 7 (1):85-94.
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  13. Hans Maes (2008). A New Philosophy of Photography? [REVIEW] History of Photography 32 (4).
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  14. Hans Maes (2001). Bescheidenheid En Asymmetrie. Algemeen Nederlands Tijdschrift voor Wijsbegeerte 93 (2):117-135.
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  15. Hans Maes & Jerrold Levinson (eds.) (2012). Art and Pornography: Philosophical Essays: Philosophical Essays. Oxford University Press Uk.
    Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...)
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  16. Hans Maes & Jerrold Levinson (eds.) (2015). Art and Pornography: Philosophical Essays. Oxford University Press Uk.
    Do art and pornography overlap, or are the two mutually exclusive? If they are, why is that? Art and Pornography explores the artistic status and aesthetic dimension of pornographic pictures, films, and literature. A team of leading scholars develops a subtle understanding of sexual imagery and themes, in a range of cultural contexts.
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  17. Hans Maes (2010). Love, Friendship, and Casablanca. Hermenia:98-107.
     
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  18. Hans Maes (2007). Opmerkingen over het Gevoel van het Schone en het Verhevene. [REVIEW] Algemeen Nederlands Tijdschrift voor Wijsbegeerte 2.
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  19.  39
    Hans Maes (ed.) (2013). Pornographic Art and the Aesthetics of Pornography. Palgrave Macmillan.