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1 — 50 / 681
  1. Virgil C. Aldrich (1963). Philosophy of Art. Englewood Cliffs, N.J.,Prentice-Hall.
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  2. Stephen Davies & Ananta Charana Sukla (eds.) (2003). Art and Essence. Praeger.
  3. 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.
  4. 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 (...)
  5. 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.
  6. Edmund J. Thomas (1990). Writers and Philosophers: A Sourcebook of Philosophical Influences on Literature. Greenwood Press.
  7. David Best (1978). Philosophy and Human Movement. Allen & Unwin.
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  8. Benjamin R. Tilghman (1984). But is It Art?: The Value of Art and the Temptation of Theory. B. Blackwell.
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  9. Harry Edwin Eiss (2008). Insanity and Genius: Masks of Madness and the Mapping of Meaning and Value. Cambridge Scholars Pub..
  10. 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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  11. 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 (...)
  12. Michael Ryan (1999). Literary Theory: A Practical Introduction: Readings of William Shakespeare, King Lear, Henry James, "the Aspern Papers," Elizabeth Bishop, the Complete Poems 1927-1979, Toni Morrison, the Bluest Eye. [REVIEW] Blackwell Publishers.
    Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for use in introductory (...)
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  13. C. G. Prado (1984). Making Believe: Philosophical Reflections on Fiction. Greenwood Press.
  14. Maurice S. Friedman (1999). The Affirming Flame: A Poetics of Meaning. Prometheus Books.
  15. Kate Fullbrook (1990). Free Women: Ethics and Aesthetics in Twentieth-Century Women's Fiction. Temple University Press.
  16. Richard Kearney & David M. Rasmussen (eds.) (2001). Continental Aesthetics: Romanticism to Postmodernism: An Anthology. Blackwell Publishers.
    The range and significance of the primary sources presented, together with the editors' introductions, make this volume essential for anyone interested in ...
  17. Janet Wolff (1983). Aesthetics and the Sociology of Art. G. Allen & Unwin.
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  18. 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. (...)
  19. Jody Azzouni (2010). Talking About Nothing: Numbers, Hallucinations, and Fictions. Oxford University Press.
    Numbers -- Hallucinations -- Fictions -- Scientific languages, ontology, and truth -- Truth conditions and semantics.
  20. 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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  21. Ananta Charana Sukla (ed.) (2003). Art and Experience. Praeger.
    Focuses on the multidisciplinary and cross-cultural perspectives of the concept of experience, and evaluates its cultural value as it is used in science, ...
  22. 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.
  23. 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 (...)
  24. Giovanni Gentile (1972). The Philosophy of Art. Ithaca,Cornell University Press.
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  25. 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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  26. 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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  27. 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 (...)
  28. David Simpson (ed.) (1984). German Aesthetic and Literary Criticism. Cambridge University Press.
  29. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
  30. 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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  31. 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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  32. Doris Behrens-Abouseif (1999). Beauty in Arabic Culture. Markus Wiener Publishers.
  33. 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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  34. E. F. Carritt (1931/1976). Philosophies of Beauty From Socrates to Robert Bridges: Being the Sources of Aesthetic Theory. Greenwood Press.
  35. Mary C. Gentile (1985). Film Feminisms: Theory and Practice. Greenwood Press.
  36. 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 (...)
  37. Warren E. Steinkraus (1974). Philosophy of Art. Benziger.
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  38. 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 (...)
  39. Herman Rapaport (1997). Is There Truth in Art? Cornell University Press.
    'Is There Truth in Art?' includes chapters on atonal music, environmental art, modern German and French poetry, contemporary French fiction, experimental French ...
  40. W. E. Kennick (1964). Art and Philosophy. New York, St. Martin's Press.
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  41. Derek Attridge, Geoffrey Bennington & Robert Young (eds.) (1987). Post-Structuralism and the Question of History. Cambridge University Press.
    Recent developments in literary theory, such as structuralism and deconstruction, have come under attack for neglecting history, while historically-based approaches have been criticized for failing to take account of the problems inherent in their methodological foundations. This collection of essays is unique in that it focuses on the relation between post-structuralism and historical (especially Marxist) literary theory and criticism. The volume includes a deconstructive reading of Marx, essays that relate history to the philosophical and institutional context, and a number of (...)
  42. 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.
  43. David E. W. Fenner (ed.) (1995). Ethics and the Arts: An Anthology. Garland Pub..
    First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
  44. Theodore Meyer Greene (1940). The Arts and the Art of Criticism. Princeton, Princeton University Press.
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  45. David Frisby (1986). Fragments of Modernity: Theories of Modernity in the Work of Simmel, Kracauer, and Benjamin. Mit Press.
  46. Edith Kern (1980). The Absolute Comic. Columbia University Press.
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  47. Judith Irene Lochhead & Joseph Henry Auner (eds.) (2002). Postmodern Music/Postmodern Thought. Routledge.
    What is postmodern music and how does it differ from earlier styles, including modernist music? What roles have electronic technologies and sound production played in defining postmodern music? Has postmodern music blurred the lines between high and popular music? Addressing these and other questions, this ground-breaking collection gathers together for the first time essays on postmodernism and music written primarily by musicologists, covering a wide range of musical styles including concert music, jazz, film music, and popular music. Topics include: the (...)
  48. Carl Dahlhaus (1989). The Idea of Absolute Music. University of Chicago Press.
    With a characteristically broad and provocative treatment, Dahlhaus examines a single music-aesthetical idea from various historical and philosophical viewpoints. "Essential reading for anyone interested in the larger intellectual framework in which Romantic music found its place, a framework that to a remarkable degree has continued to shape our image of music."--Robert P. Morgan, Yale University Carl Dahlhaus (1928-1989) is the author of a highly influential body of works on the foundations of music history and aesthetics.
  49. 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.
  50. 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 (...)
  51. 1 — 50 / 681