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1 — 50 / 782
  1. Benjamin R. Tilghman (1984). But is It Art?: The Value of Art and the Temptation of Theory. B. Blackwell.
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  2. Virgil C. Aldrich (1963). Philosophy of Art. Englewood Cliffs, N.J.,Prentice-Hall.
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  3. Nigel Warburton (2003). The Art Question. Routledge.
    "What is art?" is a question many of us want to ask but are afraid to. This is the very question that Nigel Warburton demystifies in this brilliant and accessible book. Using carefully chosen illustrations and photographs, from Cezanne and Van Gogh to Francis Bacon, Andy Warhol and the Osmond family, best-selling author Nigel Warburton brings a philosopher's eye to art in a refreshingly jargon-free style. Nigel Warburton explains with customary clarity much discussed but little understood theories of art:art as (...)
  4. David Best (1978). Philosophy and Human Movement. Allen & Unwin.
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  5. 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.
  6. 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.
  7. 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 (...)
  8. 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 (...)
  9. 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 (...)
  10. Theodore Meyer Greene (1940). The Arts and the Art of Criticism. Princeton, Princeton University Press.
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  11. Robin Maconie (1990). The Concept of Music. Oxford University Press.
    What is music for? How does it work? What can it teach us? Intuitively, we feel there must be answers to such questions, but they tend to be scattered throughout a wide range of different areas of study, from acoustics to music history, from psychology to composition. In this brilliant and thought-provoking book Maconie seeks the answers to these and other fundamental questions about music, integrating music and appropriate scientific research in a new evaluation of his topic. In so doing, (...)
  12. 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. (...)
  13. Edmund J. Thomas (1990). Writers and Philosophers: A Sourcebook of Philosophical Influences on Literature. Greenwood Press.
  14. 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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  15. W. E. Kennick (1964). Art and Philosophy. New York, St. Martin's Press.
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  16. I. A. Richards (1974). Beyond. New York,Harcourt Brace Jovanovich.
  17. Arthur Coleman Danto (1986). The Philosophical Disenfranchisement of Art. Columbia University Press.
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  18. Leo Treitler (1989). Music and the Historical Imagination. Harvard University Press.
    In this elegant book he develops a powerful statement of what music analysis and criticism in relation to historical understanding can be.
  19. Mary C. Gentile (1985). Film Feminisms: Theory and Practice. Greenwood Press.
  20. David E. Cooper (ed.) (1992). A Companion to Aesthetics. Blackwell Reference.
  21. Maurice S. Friedman (1999). The Affirming Flame: A Poetics of Meaning. Prometheus Books.
  22. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
  23. Arnold Isenberg (1988). Aesthetics and the Theory of Criticism: Selected Essays of Arnold Isenberg. University of Chicago Press.
    "These sixteen essays by Arnold Isenberg "bring wide-ranging connoiseurship, intricate analysis, and epigrammatic literacy to bear on a number of glib and fuzzy oppositions between form and content, description and interpretation, ...
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  24. Kenneth Clark (1973). Moments of Vision. [London]J. Murray.
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  25. C. G. Prado (1984). Making Believe: Philosophical Reflections on Fiction. Greenwood Press.
  26. Arnold Isenberg (1973). Aesthetics and the Theory of Criticism. Chicago,University of Chicago Press.
    Aesthetics: Music and ideas. Formalism. Perception, meaning, and the subject matter of art. The technical factor in art. The aesthetic function of language. The problem of belief. On defining metaphor.--Criticism: Cordelia absent. A poem by Frost and some principles of criticism. Critical communication. "Pretentious" as an aesthetic predicate. Superlatives. Some problems of interpretation.--Ethics and moral psychology: Natural pride and natural shame. Deontology and the ethics of lying. Ethical and aesthetic criticism.--Appendices (p. [283]-316).--A. Analytical philosophy and the study of art.--B. (...)
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  27. 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 (...)
  28. Warren E. Steinkraus (1974). Philosophy of Art. Benziger.
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  29. 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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  30. 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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  31. Harold Osborne (1955/1973). Aesthetics and Criticism. Westport, Conn.,Greenwood Press.
  32. Carol Buchanan, Richard Buchanan & Peter Elkington (2001). Wordsworth's Gardens. Texas Tech University Press.
    The general layout and functional economy of the argument and explanations are very satisfying—like walking through a well ordered garden; and the authority of Buchanan’s discussions of the gardening work and thoughts of the Master is ...
  33. Stephen Davies & Ananta Charana Sukla (eds.) (2003). Art and Essence. Praeger.
  34. 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 (...)
  35. Alan Paskow (2004). The Paradoxes of Art: A Phenomenological Investigation. Cambridge University Press.
    In this study, Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they emotionally affect us. He then applies these questions to painting, demonstrating that certain paintings beckon us to view their contents as real. What we visualise in paintings, he argues, is not simply in our heads but in our world. No one would assert that the paintings themselves are in our heads; nor would anyone deny that they are in (...)
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  36. 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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  37. Robin Maconie (1997). The Science of Music. Oxford University Press.
    What do Pythagoras, Plato, Newton, and Wittgenstein have in common with Jack and the Beanstalk, David and Goliath, the Hare and the Tortoise, and Formula 1 auto racing? Hearing is the clue, and musical science the answer. In his revolutionary sequel to The Concept of Music (OUP, 1990), Robin Maconie uncovers the hidden role of musical acoustics in the formulation of key concepts of science and philosophy from ancient Greece to modern times.
  38. Steven P. Scher (ed.) (1992). Music and Text: Critical Inquiries. Cambridge University Press.
    Melopoetics, the study of the multifarious relations between music and literature, has emerged in recent years as an increasingly popular field of interdisciplinary inquiry. In this volume, noted musicologists and literary critics explore diverse topics of shared concern such as literary theory as a model for musical criticism, genre theories in literature and music, the criticism and analysis of texted music, and the role of aesthetic, historical, and cultural understanding in concepts of text/music convergence. These fourteen essays - united here (...)
  39. Frederick M. Keener (1983). The Chain of Becoming: The Philosophical Tale, the Novel, and a Neglected Realism of the Enlightenment: Swift, Montesquieu, Voltaire, Johnson, and Austen. Columbia University Press.
  40. Richard A. Watson (1990). The Philosopher's Joke: Essays in Form and Content. Prometheus Books.
  41. Patrick Colm Hogan (2000). Philosophical Approaches to the Study of Literature. University Press of Florida.
    Surveying 2,500 years of philosophically oriented literary theory, Patrick Hogan provides students and teachers of literature with both explication and ...
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  42. 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.
  43. Jessica R. Feldman (2002). Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience. Cambridge University Press.
    In Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience Jessica Feldman sheds a pragmatist light on the relation between the Victorian age and Modernism by dislodging truistic notions of Modernism as an art of crisis, rupture, elitism and loss. She examines aesthetic sites of Victorian Modernism - including workrooms, parlours, friendships, and family relations as well as printed texts and paintings - as they develop through interminglings and continuities as well as gaps and breaks. Examining the works of John (...)
  44. Stanley Cavell (1971). The World Viewed. New York,Viking Press.
  45. 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.
  46. 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 ...
  47. Alan Durant (1985). Conditions of Music. State University of New York Press.
    A new consideration of these changes is a practical and cultural necessity. In Conditions of Music, Alan Durant extends Deryck Cooke's Language of Music, placing the insights of Cooke into a much wider sociological and historical framework.
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  48. 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.
  49. Martha Craven Nussbaum (2001). The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy. Cambridge University Press.
    This book is a study of ancient views about 'moral luck'. It examines the fundamental ethical problem that many of the valued constituents of a well-lived life are vulnerable to factors outside a person's control, and asks how this affects our appraisal of persons and their lives. The Greeks made a profound contribution to these questions, yet neither the problems nor the Greek views of them have received the attention they deserve. This book thus recovers a central dimension of Greek (...)
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  50. James A. Leith & George Whalley (eds.) (1987). Symbols in Life and Art: The Royal Society of Canada Symposium in Memory of George Whalley. Published for the Royal Society of Canada by Mcgill-Queen's University Press.
    Printbegrænsninger: Der kan printes 10 sider ad gangen og max. 40 sider pr. session.
  51. 1 — 50 / 782