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1 — 50 / 759
  1. Virgil C. Aldrich (1963). Philosophy of Art. Englewood Cliffs, N.J.,Prentice-Hall.
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  2. Benjamin R. Tilghman (1984). But is It Art?: The Value of Art and the Temptation of Theory. B. Blackwell.
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  3. Stein Haugom Olsen (1987). The End of Literary Theory. Cambridge University Press.
    The essays in this collection are concerned with the philosophical problems that arise in connection with the understanding and evaluation of literature - such problems as the relationship between the work and the author (authorial intention), between the work and the world (reference and truth), the definition of a literary work, and the nature of literary theory itself. Professor Olsen attacks many of the orthodoxies of modern literary theory, in particular the enterprise to build a comprehensive systematic literary theory. His (...)
  4. Martin L. Davies & Marsha Meskimmon (eds.) (2003). Breaking the Disciplines: Reconceptions in Knowledge, Art, and Culture. I.B. Tauris.
    In this pioneering book, noted international scholars explore the limits and definitions of knowing, thinking, and communicating meaning as we move into the 21st century. Coming from disciplines as diverse as anthropology, philosophy, literature, aesthetics, and art practice, together they work towards reconceiving the boundaries between entrenched domains of knowledge to great effect.
  5. Pierre Macherey (1978). A Theory of Literary Production. Routledge & Kegan Paul.
    The reissue of this work as a Routledge Classic brings some radical ideas to a new audience, and argues persuasively for a totally new way of reading.
  6. Maurice S. Friedman (1999). The Affirming Flame: A Poetics of Meaning. Prometheus Books.
  7. David Best (1978). Philosophy and Human Movement. Allen & Unwin.
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  8. Leo Charney (1998). Empty Moments: Cinema, Modernity, and Drift. Duke University Press.
    In Empty Moments, Leo Charney describes the defining quality of modernity as "drift" - the experience of being unable to locate a stable sense of the present.
  9. Giovanni Gentile (1972). The Philosophy of Art. Ithaca,Cornell University Press.
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  10. Kevin Barry (1987). Language, Music, and the Sign: A Study in Aesthetics, Poetics, and Poetic Practice From Collins to Coleridge. Cambridge University Press.
    Originally published in 1987, this book forms a conceptual account of the relationship between music and poetry in the late eighteenth and early nineteenth ...
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  11. A. L. Cothey (1990). The Nature of Art. Routledge.
    From Plato to Goodman, many philosophers have addressed problems in aesthetics and the philosophy of art. Nevertheless the central issues here have remained ill-defined. In this book, A. L. Cothey overcomes this difficulty by giving a systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day. In The Nature of Art , Cothey concludes that the best-known philosophical theories of art fail to satisfy either the pragmatic or the aesthetic criteria required to (...)
  12. Edmund J. Thomas (1990). Writers and Philosophers: A Sourcebook of Philosophical Influences on Literature. Greenwood Press.
  13. David Bindman (2002). Ape to Apollo: Aesthetics and the Idea of Race in the 18th Century. Cornell University Press.
    Ape to Apollo is the first book to follow the development in the eighteenth century of the idea of race as it shaped and was shaped by the idea of aesthetics.
  14. Angela Hobart & Bruce Kapferer (eds.) (2004). Aesthetics in Performance: Formations of Symbolic Construction and Experience. Berghahn Books.
    Introduction The Aesthetics of Symbolic Construction and Experience Bruce Kapferer and Angela Hobart The essays in this volume address aesthetic forms and ...
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  15. Gerald C. Cupchik & János László (eds.) (1992). Emerging Visions of the Aesthetic Process: Psychology, Semiology, and Philosophy. Cambridge University Press.
    This book is about aesthetic processes and play from the perspectives of psychologists, philosophers, and semiologists. They explore the underlying processes from many viewpoints, including the prehistoric roots of language and art; the historical evolution of artistic, literary, and musical styles; the structure of artworks from both gestalt and semiotic perspectives; the biological and psychological processes underlying production and appreciation; the appeal of sentimental art; emotional responses to art and other aesthetic forms; personality in relation to artistic style; the testing (...)
  16. Salim Kemal & Ivan Gaskell (eds.) (1993). Explanation and Value in the Arts. Cambridge University Press.
    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 explanations of works. (...)
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  17. Janet Wolff (1983). Aesthetics and the Sociology of Art. G. Allen & Unwin.
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  18. Marcel Franciscono (1971). Walter Gropius and the Creation of the Bauhaus in Weimar: The Ideals and Artistic Theories of its Founding Years. Urbana,University of Illinois Press.
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  19. Rita Aiello & John A. Sloboda (eds.) (1994). Musical Perceptions. Oxford University Press.
    Musical Perceptions is a much-needed text that introduces students of both music and psychology to the study of music perception and cognition. Because the book aims to foster a closer interaction between research in the science and the art of music, both psychologists and musicians contribute chapters on a wide range of topics, including the philosophy of music; research in musical performance; perception of melody, tonality, and rhythm; pedagogical issues; language and music; and neural networks. With their unique ability to (...)
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  20. C. G. Prado (1984). Making Believe: Philosophical Reflections on Fiction. Greenwood Press.
  21. Nick Zangwill (2001). The Metaphysics of Beauty. Cornell University Press.
    In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of things.
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  22. Robert Hughes (2010). Ethics, Aesthetics, and the Beyond of Language. State University of New York Press.
    Sleepy Hollow : fearful pleasures and the nightmare of history -- Lacan and the beyond of language : from art to ethics -- Brown's Wieland and the ethical circumscription of death -- Heideggerian ethics : the voice of art and the call to being -- Levinas: art and the transcendence of solitude -- Endings : ethics, enigma, and address in The marble faun -- Riven : Badiou's ethical subject and the event of art as trauma.
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  23. Christopher Morris (2002). Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning From Wagner to Berg. Cambridge University Press.
    A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining close readings (...)
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  24. Jefferson Humphries (1987). The Puritan and the Cynic: Moralists and Theorists in French and American Letters. Oxford University Press.
    Why do Americans, and so often, American writers, profess moral sentiments and yet write so little in the traditionally "moralistic" genres of maxim and fable? What is the relation between "moral" concerns and literary theory? Can any sort of morality survive the supposed nihilism of deconstruction? Jefferson Humphries undertakes a discussion of questions like these through a comparative reading of the ways in which moral issues surface in French and American literature. Humphries takes issue with the "amoral" view of deconstruction (...)
  25. John C. Welchman (ed.) (1996). Rethinking Borders. University of Minnesota Press.
    The eight essays and three responses collected in Rethinking Borders were commissioned from an exciting range of leading younger writers, artists and intellectuals whose work has raised significant questions about the border cultures in ...
  26. J. R. Leibowitz (2008). Hidden Harmony: The Connected Worlds of Physics and Art. Johns Hopkins University Press.
    Most "art and science" books focus on the science of perspective or the psychology of perception. Hidden Harmony does not. Instead, the book addresses the surprising common ground between physics and art from a novel and personal perspective. Viewing the two disciplines as creative processes, J. R. Leibowitz supplements existing and original research with illustrations to demonstrate that physics and art share guiding aesthetics and compositional demands and to show how each speaks meaningfully to the other. Leibowitz widens our experience (...)
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  27. Theodore Meyer Greene (1940). The Arts and the Art of Criticism. Princeton, Princeton University Press.
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  28. David E. Cooper (ed.) (1992). A Companion to Aesthetics. Blackwell Reference.
  29. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
  30. Douglas Burnham (2010). Nietzsche's the Birth of Tragedy: A Reader's Guide. Continuum.
    Introduction -- Context -- Overview of themes -- Reading the text -- Reception and influence.
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  31. Warren E. Steinkraus (1974). Philosophy of Art. Benziger.
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  32. Peter Jones (1975). Philosophy and the Novel: Philosophical Aspects of Middlemarch, Anna Karenina, the Brothers Karamazov, a La Recherche Du Temps Perdu, and of the Methods of Criticism. Clarendon Press.
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  33. Doris Behrens-Abouseif (1999). Beauty in Arabic Culture. Markus Wiener Publishers.
  34. Stephen Davies & Ananta Charana Sukla (eds.) (2003). Art and Essence. Praeger.
  35. Ernst van Alphen (2005). Art in Mind: How Contemporary Images Shape Thought. University of Chicago Press.
    Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. In Art in Mind , Ernst van Alphen probes this idea of art as a commanding force with the capacity to shape our intellect and intervene in our lives. Rather than interpreting art as merely a reflection of our social experience or a product of history, van Alphen here argues that art is a historical (...)
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  36. Peter Kivy (1997). Philosophies of Arts: An Essay in Differences. Cambridge University Press.
    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 explore (...)
  37. Lawrence Manley (1980). Convention, 1500-1750. Harvard University Press.
    This book is a history of the idea of convention, the roles it played in the formative stages of English and Continental literary theory and in the development ...
  38. E. F. Carritt (1931/1976). Philosophies of Beauty From Socrates to Robert Bridges: Being the Sources of Aesthetic Theory. Greenwood Press.
  39. Iannis Xenakis (1971). Formalized Music. Bloomington,Indiana University Press.
  40. Susan L. Feagin & Patrick Maynard (eds.) (1997). Aesthetics. Oxford University Press.
    Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan Sontag. (...)
  41. Mary C. Gentile (1985). Film Feminisms: Theory and Practice. Greenwood Press.
  42. Charles Wegener (1992). The Discipline of Taste and Feeling. University of Chicago Press.
    Musing in Florence in June of 1858, Nathaniel Hawthorne said of himself, "I am sensible that a process is going on--and has been, ever since I came to Italy--that puts me in a state to see pictures with less toil, and more pleasure, and makes me more fastidious, yet more sensible of beauty where I saw none before." This is a book devoted to the reflective analysis of the enterprise in which many of us, like Hawthorne, find ourselves engaged: the (...)
  43. Wolfgang Welsch (1997). Undoing Aesthetics. Sage Publications.
    Wolfgang Welsch examines global aestheticization phenomena, probes the relationship of aesthetics and ethics, and considers the broad relevance of aesthetics for contemporary thinking. He argues that modes of thought familiar from the aesthetic realm comprise fundamental paradigms for understanding todayÆs reality. The implications for specific and everyday issues are demonstrated in studies of architecture, advertising, the Internet, and our perception of the life world. Surgically precise, innovative, and, above all, relevant, this book is an essential resource, providing the analysis of (...)
  44. Stephen Davies (1994). Musical Meaning and Expression. Cornell University Press.
    But what does music mean, and how does it mean?Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in ...
  45. Paul Willemen (1994). Looks and Frictions: Essays in Cultural Studies and Film Theory. British Film Institute.
    Willemen has contributed to the development of film theory and cultural studies over the past 20 years. This is a collection of his classic, provocative essays, covering issues such as pornography and melodrama, Third Cinema, questions of national identity, and theories of postmodernism.
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  46. Philip Fisher (1998). Wonder, the Rainbow, and the Aesthetics of Rare Experiences. Harvard University Press.
    This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences.
  47. W. E. Kennick (1964). Art and Philosophy. New York, St. Martin's Press.
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  48. Mette Hjort (1993). The Strategy of Letters. Harvard University Press.
    Introduction O DY ss E us , one of the earliest and best-known strategists in the history of literature, chances upon the cave of the dim-witted giant ...
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  49. Richard Harland (1999). Literary Theory From Plato to Barthes: An Introductory History. St. Martin's Press.
    Richard Harland provides a lucid account of all the major movements in literary theory up to the late 1960s. In a lucid and accessible style, he unfolds a comprehensive "story" of literary theory in all its manifestations. Because contemporary literary theory depends heavily upon European thinkers, the book has an international focus, and its coverage extends from philosophers to social theorists to linguists. Harland explains the essential principles of each theoretical position, looking behind particular critical judgments and interpretations in order (...)
  50. David Frisby (1986). Fragments of Modernity: Theories of Modernity in the Work of Simmel, Kracauer, and Benjamin. Mit Press.
  51. 1 — 50 / 759