75 found
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  1. Paul Crowther (1989). Book Reviews. [REVIEW] British Journal of Aesthetics 29 (3):79-81.
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  2. Paul Crowther (1985). Book Reviews. [REVIEW] British Journal of Aesthetics 25 (4):79-81.
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  3. Paul Crowther (1987). Book Reviews. [REVIEW] British Journal of Aesthetics 27 (4):79-81.
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  4. Paul Crowther (1982). Book Reviews. [REVIEW] British Journal of Aesthetics 22 (1):79-81.
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  5. Paul Crowther (2003). Cultural Exclusion, Normativity, and the Definition of Art. Journal of Aesthetics and Art Criticism 61 (2):121-131.
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  6. Paul Crowther (1988). Book-Reviews. British Journal of Aesthetics 28 (1):79-81.
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  7. Paul Crowther (1993). Book Reviews. [REVIEW] British Journal of Aesthetics 33 (4):79-81.
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  8. Paul Crowther (1983). The Experience of Art: Some Problems and Possibilities of Hermeneutical Analysis. Philosophy and Phenomenological Research 43 (3):347-362.
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  9. Paul Crowther (1983). Book Reviews. [REVIEW] British Journal of Aesthetics 23 (4):79-81.
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  10. Paul Crowther (1992). Book Reviews. [REVIEW] British Journal of Aesthetics 32 (4):79-81.
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  11. Paul Crowther (1985). Greenberg's Kant and the Problem of Modernist Painting. British Journal of Aesthetics 25 (4):317-325.
    This paper analyzes the kantian aspects of greenberg's theory of modernism. It is argued first that the distinctiveness of greenberg's theory lies not in a kantian-Style aesthetic formalism, But rather in an intellectualist notion of aesthetic value which greenberg associates with a kantian-Style self-Critical method. It is then argued that greenberg's use of this kantian notion of self-Criticism in order to explain the development of modernist painting, Leads him into insuperable problems.
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  12. Paul Crowther (1996). The Significance of Kant's Pure Aesthetic Judgement. British Journal of Aesthetics 36 (2):109-121.
  13.  30
    Paul Crowther (2013). Imagination, Language, and the Perceptual World: A Post-Analytic Phenomenology. [REVIEW] Continental Philosophy Review 46 (1):37-56.
    This paper seeks to integrate analytic philosophy and phenomenology. It does so through an approach generated, specifically, in relation to imagination and its cognitive significance. As an Introduction, some reservations about existing phenomenological approaches to imagination—in the work of Sartre and Edward S. Casey—are considered. It is argued that their introspective psychological approach needs to be qualified through a more analytic orientation that determines essence, initially, on the basis of public discourse concerning the term ‘imagination.’ Part One then articulates this (...)
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  14. Paul Crowther (1991). Creativity and Originality in Art. British Journal of Aesthetics 31 (4):301-309.
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  15. Paul Crowther (2007). Space, Place, and Sculpture: Working with Heidegger. [REVIEW] Continental Philosophy Review 40 (2):151-170.
    Heidegger’s paper ‘Art and Space’ (1969, Man and world 6. Bloomington: Indiana university Press) is the place where he gives his fullest discussion of a major art medium which is somewhat neglected in aesthetics, namely sculpture. The structure of argument in ‘Art and Space’ is cryptic even by Heidegger’s standards. The small amount of literature tends to focus on the paper’s role within Heidegger’s own oeuvre as an expression of changes in his understanding of space. This is ironic; for Heidegger’s (...)
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  16.  96
    Paul Crowther (1982). Merleau–Ponty: Perception Into Art. British Journal of Aesthetics 22 (2):138-149.
  17.  58
    Paul Crowther (2004). Defining Art, Defending the Canon, Contesting Culture. British Journal of Aesthetics 44 (4):361-377.
    This paper criticizes contemporary relativist scepticism concerning the universal validity of the concepts ‘art’ and the ‘aesthetic’. As an alternative, it offers a normative definition of art based on intrinsic aesthetic meaning contextualized by innovation and refinement in the diachronic history of art media. In section I, anti-foundationalist relativism, and softer versions (found in the Institutional definitions of art) are expounded in relation to art and the aesthetic. In section II, it is argued that antifoundationalism is conceptually flawed and tacitly (...)
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  18.  78
    Paul Crowther (2008). Ontology and Aesthetics of Digital Art. Journal of Aesthetics and Art Criticism 66 (2):161–170.
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  19.  69
    Paul Crowther (1981). Art and Autonomy. British Journal of Aesthetics 21 (1):12-21.
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  20.  64
    Paul Crowther (2002). Review: Performing Live: Aesthetic Alternatives for the Ends of Art. [REVIEW] Mind 111 (444):909-912.
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  21.  57
    Paul Crowther (2008). Pictorial Space and the Possibility of Art. British Journal of Aesthetics 48 (2):175-192.
    This paper addresses the cognitive status of making pictures, rather than their informational function. Discussion centres on the structure of pictorial space. Space of this kind is constituted from the relation between pictorial content's modal plasticity (that is, its capacity to represent actualities, possibilities, and nomological and metaphysical impossibilities) and the formative role of planar structure and idioms of recessional organization. On the basis of this, it is argued that alternative creative realizations and aesthetic significance are inherent to the structure (...)
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  22.  52
    Paul Crowther (1989). The Aesthetic Domain: Locating the Sublime. British Journal of Aesthetics 29 (1):21-31.
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  23.  46
    Paul Crowther (1987). Aesthetic Aspects. British Journal of Aesthetics 27 (1):9-19.
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  24.  37
    Paul Crowther (2010). The Kantian Aesthetic: From Knowledge to the Avant-Garde. Oxford University Press.
    This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.
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  25. Paul Crowther (1991). Beyond Formalism: Kant's Theory of Art. Filozofski Vestnik 12 (1):27-40.
     
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  26.  14
    Paul Crowther (2004). Painting, Abstraction, Metaphysics. Symposium: The Canadian Journal of Continental Philosophy 8 (3):633-646.
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  27.  6
    Paul Crowther (2015). The Poetry of ‘Flesh’ or the Reality of Perception? Merleau-Ponty’s Fundamental Error. International Journal of Philosophical Studies 23 (2):255-278.
    The present paper argues that Merleau-Ponty’s notion of Flesh/reversibility intellectually is significantly flawed, and leads phenomenology into something of a dead end. This is shown through the following strategy. First Merleau-Ponty’s account of originary perception and his critique of the reflective attitude are expounded. They are shown to culminate in rejection of the subject-object relation as an ontological fundamental in favour of a ‘hyper-reflective method’. A critique of Merleau-Ponty’s position is then offered. It argues that originary perception is not logically (...)
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  28.  37
    Paul Crowther (1984). Kant and Greenberg's Varieties of Aesthetic Formalism. Journal of Aesthetics and Art Criticism 42 (4):442-445.
  29.  30
    Paul Crowther (1997). Book Reviews. [REVIEW] British Journal of Aesthetics 37 (4):79-81.
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  30.  8
    Paul Crowther (1985). Fundamental Ontology and Transcendent Beauty: An Approach to Kant's Aesthetics. Kant-Studien 76 (1-4):55-71.
  31.  42
    Paul Crowther (1989). The Kantian Sublime: From Morality to Art. Oxford University Press.
    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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  32.  15
    Paul Crowther, Books Articles Review s Papers Presented.
    This is the first volume of an impressive project on the relation of art, philosophy and social change. In an on-going argument and review ing several important aesthetic theories Paul Crow ther in this book argues for the idea that aesthetics should be a kind of critical assessment of art w orks' experiential consequences. Although I go along w ith his resistance against postmodernist reasoning, w hich functions as the starting point of his book, beyond that, our w ays often (...)
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  33.  11
    Paul Crowther (1981). Autonomy and Authenticity: A Prelude to Educational Hermeneutics. Educational Philosophy and Theory 13 (1):15–22.
  34.  10
    Paul Crowther (1986). The Claims of Perfection. International Philosophical Quarterly 26 (1):61-74.
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  35.  4
    Paul Crowther (1993). Art, Knowledge and Historicity. Nordic Journal of Aesthetics 6 (10).
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  36.  2
    Edward Winters & Paul Crowther (1995). Critical Aesthetics and Postmodernism.Art and Embodiment. Philosophical Quarterly 45 (178):103.
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  37.  81
    Paul Crowther (1993). Art and Embodiment: From Aesthetics to Self-Consciousness. Oxford University Press.
    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. Paul Crowther (1993). Art and Embodiment: From Aesthetics to Self-Consciousness. Oxford University Press Uk.
    In this book, Paul Crowther proposes an ecological definition of art: that by making sensible or imaginative material into symbolic form, it harmonizes and conserves what is unique and what is general about human experience.
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  39. Paul Crowther (2001). Art and Embodiment: From Aesthetics to Self-Consciousness. OUP Oxford.
    Paul Crowther argues 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. He proposes an ecological definition of art: by making sensible or imaginative material into symbolic form, it harmonizes and conserves what is unique and what is general about human experience.
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  40. Paul Crowther (2009). Artistic Creativity: Illusions, Realities, Futures. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press
     
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  41. Paul Crowther (2006). After Heidegger: The Place of Sculpture. Filozofski Vestnik 27 (3):45 - +.
     
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  42. Paul Crowther & Miruna Cuzman (2011). A Rediscovered Contemporary Full-Length Sketch-Portrait Of Schopenhauer By Frederic, Lord Leighton. Schopenhauer Jahrbuch:301-306.
     
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  43.  44
    Paul Crowther (1993). Critical Aesthetics and Postmodernism. Oxford University Press.
    In recent times considerable controversy has raged around the question of postmodern culture and its products. Paul Crowther attempts to overcome some of the antagonistic viewpoints involved by expounding and developing key themes from the work of Kant and Merleau-Ponty in the context of contemporary culture. His work analyzes topics such as the relation between art and politics, the problems of poststructuralist and feminist approaches to art, the re-emergence and relevance of theories of the sublime, and the continuing possibilities of (...)
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  44. Paul Crowther (2007). Defining Art, Creating the Canon: Artistic Value in an Era of Doubt. Oxford University Press.
    Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...)
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  45. Paul Crowther (2011). Defining Art, Creating the Canon: Artistic Value in an Era of Doubt. Oxford University Press Uk.
    What is art; why should we value it; and what allows us to say that one work is better than another? Traditional answers have emphasized aesthetic form. But this has been challenged by institutional definitions of art and postmodern critique. The idea of distinctively artistic value based on aesthetic criteria is at best doubted, and at worst, rejected. This book, however, champions the traditional notions. It restores the mimetic definition of art on the basis of factors which traditional answers neglect, (...)
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  46. Paul Crowther (1984). Gary Brent Madison: The Phenomenology of Merleau-Ponty. [REVIEW] Radical Philosophy 38:39.
     
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  47. Paul Crowther (1982). "Henry Fielding and William Hogarth: The Correspondences of the Arts": P. J. De Voogd. [REVIEW] British Journal of Aesthetics 22 (1):88.
     
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  48. Paul Crowther (1986). Henry Staten, Wittgenstein and Derrida. Radical Philosophy 44:46.
  49. Paul Crowther (1986). Jean-Jacques Lecercle, Philosophy Through the Looking-Glass. [REVIEW] Radical Philosophy 44:46.
     
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  50. Paul Crowther (1992). Les Immatériaux and the Postmodern Sublime. In Andrew E. Benjamin (ed.), Judging Lyotard. Routledge 192--205.
     
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