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  1.  90
    Tom Huhn (1996). The Movement of Mimesis: Heidegger's 'Origin of the Work of Art' in Relation to Adorno and Lyotard. Philosophy and Social Criticism 22 (4):45-69.
    Heidegger formulates the artwork's origin in a movement against the false motion of portrayal and repetition. The term mimesis is employed in the present essay to describe this origin and the means by which truth 'happens', specifically when mimesis turns against itself as imitation. The movement of the artwork is considered within the following constellation: the concept of mimesis is examined in light of Heidegger's 'Origin' essay to illuminate the concept and the essay by placing both in relation to Adorno's (...)
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  2. Joseph Margolis, Tom Rockmore, Lisa Dolling, Jaakko Hintikka, Anton Alterman, Stephen Toulmin, Michel Paty, John Stachel, Gregg Horowitz, Michael Kelly, Tom Huhn, Barbara Savedoff, Saul Fisher, Sybil Schwarzenbach, John Pittman & Raphael Sassower (2002). Constructivism and Practice: Toward a Historical Epistemology. Rowman & Littlefield Publishers.
    Constructivism and Practice advances the understanding of the role of construction and model creation and reflects on the relationship of these models to social practices.
     
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  3.  10
    Tom Huhn (2003). Heidegger, Adorno, and Mimesis. Dialogue and Universalism 13 (11-12):43-52.
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  4.  14
    Tom Huhn (2000). A Modern Critique of Modernism: Lukacs, Greenberg, and Ideology. Constellations 7 (2):178-196.
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  5.  13
    Tom Huhn (2008). The Persistence of Subjectivity: On the Kantian Aftermath , And: German Philosophy 1760–1860: The Legacy of Idealism (Review). [REVIEW] Philosophy and Literature 32 (2):pp. 396-401.
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  6.  10
    Tom Huhn (2007). Review of Eva Geulen, The End of Art: Readings in a Rumor After Hegel. [REVIEW] Notre Dame Philosophical Reviews 2007 (3).
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  7. Tom Huhn (1995). Theodor W. Adorno, The Stars Down to Earth and Other Essays on the Irrational in Culture Reviewed By. Philosophy in Review 15 (3):151-153.
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  8.  3
    Tom Huhn (1998). Book Reviews. [REVIEW] British Journal of Aesthetics 38 (2):395-397.
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  9.  8
    Tom Huhn (1997). A Lack of Feeling in Kant: Response to Patricia M. Matthews. Journal of Aesthetics and Art Criticism 55 (1):57-58.
  10. Gregg Horowitz & Tom Huhn (1998). The Wake of Art: Criticism, Philosophy, and the Ends of Taste. In Arthur Coleman Danto (ed.), The Wake of Art: Essays: Criticism, Philosophy and the Ends of Taste. G+B Arts Int'l
     
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  11. Tom Huhn (2004). Imitation and Society: The Persistence of Mimesis in the Aesthetics of Burke, Hogarth, and Kant. Penn State University Press.
    This book reconsiders the fate of the doctrine of mimesis in the eighteenth century. Standard accounts of the aesthetic theories of this era hold that the idea of mimesis was supplanted by the far more robust and compelling doctrines of taste and aesthetic judgment. Since the idea of mimesis was taken to apply only in the relation of art to nature, it was judged to be too limited when the focus of aesthetics changed to questions about the constitution of individual (...)
     
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  12. Tom Huhn (2006). Imitation and Society: The Persistence of Mimesis in the Aesthetics of Burke, Hogarth, and Kant. Penn State University Press.
    This book reconsiders the fate of the doctrine of mimesis in the eighteenth century. Standard accounts of the aesthetic theories of this era hold that the idea of mimesis was supplanted by the far more robust and compelling doctrines of taste and aesthetic judgment. Since the idea of mimesis was taken to apply only in the relation of art to nature, it was judged to be too limited when the focus of aesthetics changed to questions about the constitution of individual (...)
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  13. Tom Huhn (2004). Introduction: Thoughts Beside Themselves. In The Cambridge Companion to Adorno. Cambridge University Press 1--18.
     
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  14.  23
    Tom Huhn (ed.) (2004). The Cambridge Companion to Adorno. Cambridge University Press.
    The great German philosopher and aesthetic theorist Theodor Wiesengrund Adorno (1903-1969) was one of the main philosophers of the first generation of the Frankfurt School of critical theory. As an accomplished musician, Adorno originally focused on the theory of culture and art. He later turned to the problem of the self-defeating dialectic of modern reason and freedom. A distinguished roster of Adorno specialists explores the full range of his contributions to philosophy, history, music theory, aesthetics and sociology in this collection (...)
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  15. Tom Huhn (ed.) (2006). The Cambridge Companion to Adorno. Cambridge University Press.
    The great German philosopher and aesthetic theorist Theodor Wiesengrund Adorno was one of the main philosophers of the first generation of the Frankfurt School of critical theory. An accomplished musician, Adorno first focused on the theory of culture and art. Later he turned to the problem of the self-defeating dialectic of modern reason and freedom. In this collection of essays, imbued with the most up-to-date research, a distinguished roster of Adorno specialists explore the full range of his contributions to philosophy, (...)
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  16.  5
    Tom Huhn & Lambert Zuidervaart (eds.) (1999). The Semblance of Subjectivity: Essays in Adorno's Aesthetic Theory. The MIT Press.
    Theodor W. Adorno died in 1969 and his last major work, Ästhetische Theorie, was published a year later. Only recently, however, have his aesthetic writings begun to receive sustained attention in the English-speaking world. This collection of essays is an important contribution to the discussion of Adorno's aesthetics in Anglo-American scholarship.The essays are organized around the twin themes of semblance and subjectivity. Whereas the concept of semblance, or illusion, points to Adorno's links with Marx, Nietzsche, and Freud, (...)
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