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1 — 50 / 691
  1. Véronique Marion Fóti (ed.) (1996). Merleau-Ponty: Difference, Materiality, Painting. Humanities Press.
  2. 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.
  3. David E. Cooper (ed.) (1992). A Companion to Aesthetics. Blackwell Reference.
  4. 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 ...
  5. Leonard B. Meyer (1967). Music, the Arts, and Ideas. Chicago, University of Chicago Press.
    The Postlude, written for this edition, looks back at the predictions made more than twenty-five years ago and speculates about what the coming decades may hold ...
  6. 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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  7. David Simpson (ed.) (1984). German Aesthetic and Literary Criticism. Cambridge University Press.
  8. 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 ...
  9. Giovanni Vignale (2011). The Beautiful Invisible: Creativity, Imagination, and Theoretical Physics. Oxford Univsity Press.
    Challenging the image of physics as dry and dusty, The Beautiful Invisible shows that this highly abstract science is in fact teeming with beautiful concepts, ...
  10. C. G. Prado (1984). Making Believe: Philosophical Reflections on Fiction. Greenwood Press.
  11. P. Sture Ureland (ed.) (2005). Integration of European Language Research. Logos.
  12. Eileen John & Dominic Lopes (eds.) (2004). Philosophy of Literature: Contemporary and Classic Readings: An Anthology. Blackwell Pub..
    This authoritative volume offers a handy compilation of contributions to the field by its leading figures.
  13. Gregory Currie (2004). Arts and Minds. Oxford University Press.
    Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves (...)
  14. Charles William Hughes (1970). The Human Side of Music. New York,Da Capo Press.
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  15. Hugh J. Silverman (ed.) (1989). Derrida and Deconstruction. Routledge.
    The effects of Derrida's writings have been widespread in literary circles, where they have transformed current work in literary theory. By contrast Derrida's philosophical writings--which deal with the whole range of western thought from Plato to Foucault--have not received adequate attention by philosophers. Organized around Derrida's readings of major figures in the history of philosophy, Derrida and Deconstruction focuses on and assesses his specifically philosophical contribution. Contemporary continental philosophers assess Derrida's account of philosophical tradition, with each contributor providing a critical (...)
  16. Ben-Ami Scharfstein (2009). Art Without Borders: A Philosophical Exploration of Art and Humanity. University of Chicago Press.
    Lucid, learned, and incomparably rich in thought and detail, Art Without Borders is a monumental accomplishment, on par with the artistic achievements ...
  17. 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.
  18. 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, (...)
  19. Richard Thomas Eldridge (2001). The Persistence of Romanticism: Essays in Philosophy and Literature. Cambridge University Press.
    These challenging essays defend Romanticism against its critics. They argue that Romantic thought, interpreted as the pursuit of freedom in concrete contexts, remains a central and exemplary form of both artistic work and philosophical understanding. Marshalling a wide range of texts from literature, philosophy and criticism, Richard Eldridge traces the central themes and stylistic features of Romantic thinking in the work of Kant, Hölderlin, Wordsworth, Hardy, Wittgenstein, Cavell and Updike. Through his analysis he shows that Romanticism is neither emptily literary (...)
  20. Frank H. Farley & Ronald W. Neperud (eds.) (1988). The Foundations of Aesthetics, Art & Art Education. Praeger.
  21. Joseph Margolis (1989). Texts Without Referents: Reconciling Science and Narrative. Basil Blackwell.
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  22. 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.
  23. 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 (...)
  24. F. Joseph Smith (ed.) (1976). In Search of Musical Method. Gordon and Breach.
    Alfred Schutz's "Fragments on the phenomenology of music" has been edited from a manuscript written in Lake Placid during the week of July 16th to July 23rd ...
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  25. Richard Wollheim (1971). Art and its Objects. New York,Harper & Row.
    What defines a work of art and determines the way in which we respond to it?
  26. Wilhelm S. Wurzer (ed.) (2002). Panorama: Philosophies of the Visible. Continuum.
  27. Margaret S. Hrezo & John M. Parrish (eds.) (2010). Damned If You Do: Dilemmas of Action in Literature and Popular Culture. Lexington Books.
    These essays showcase the value of the narrative arts in investigating complex conflicts of value in moral and political life, and explore the philosophical problem of moral dilemmas as expressed in ancient drama, classic and contemporary ...
  28. 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.
  29. David Goldblatt & Lee Brown (eds.) (2011). Aesthetics: A Reader in Philosophy of the Arts. Pearson Education.
    Painting -- Photography and film -- Architecture and the third dimension -- Music -- Literature -- Performance -- Popular art and everyday aesthetics -- Classic sources -- Contemporary sources.
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  30. Ignacio L. Götz (2002). Faith, Humor, and Paradox. Praeger.
    Machine generated contents note: Introduction 1 --1. The Nature of Paradox 11 --2. Faith and Paradox 23 --3. Faith and Paradox: Cases 33 --4. Faith, Hope, and Unbelief 49 --5. Faith, Dogma, and Fanaticism 61 --6. The Structure of Humor 81 --7. On Frivolity 93 --8. Humor and Faith 103 --Conclusion 115.
  31. 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 (...)
  32. Jonathan Rée (1987). Philosophical Tales: An Essay on Philosophy and Literature. Methuen.
  33. Tiffany Sutton (2000). The Classification of Visual Art: A Philosophical Myth and its History. Cambridge University Press.
    This book is an important and original contribution to the philosophy of art that bridges the disciplines of philosophy and art. It engages with a long-standing debate about what it is that bestows the designation 'art' on an artwork. Tiffany Sutton shows how the history of art should influence the classification of visual art. She considers the various theories that have been put forward to define the nature of the artwork and then offers her own set of classificatory norms. Amongst (...)
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  34. Adam Zachary Newton (1995). Narrative Ethics. Harvard University Press.
    An original work of theory as well as a deft critical performance, Narrative Ethics also stakes a claim for itself as moral inquiry.
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  35. Christopher New (1999). Philosophy of Literature: An Introduction. Routledge.
    Literature, like the visual arts, poses its own philosophical problems. While literary theorists have discussed the nature of literature intensively, analytic philosophers have usually dealt with literary problems either within the general framework of aesthetics or else in a way that is accessible only to a philosophical audience. The present book is unique in that it introduces the philosophy of literature from an analytic perspective accessible to both students of literature and students of philosophy. Specifically, the book addresses: the definition (...)
  36. Caroline van Eck, James McAllister & Renée van de Vall (eds.) (1995). The Question of Style in Philosophy and the Arts. Cambridge University Press.
    The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist alternative styles of enquiry among (...)
  37. Richard Shusterman (1988). T.S. Eliot and the Philosophy of Criticism. Columbia University Press.
  38. 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 (...)
  39. Frederic Will (1988). Thresholds & Testimonies: Recovering Order in Literature and Criticism. Wayne State University Press.
  40. 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 (...)
  41. 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.
  42. Howard Good (2002). Media Ethics Goes to the Movies. Praeger.
    Uses cinema both to depict a variety of situations in which questions of media ethics arise, and to illustrate classic and contemporary ethical theories.
  43. Peter Brunette & David Wills (eds.) (1994). Deconstruction and the Visual Arts: Art, Media, Architecture. Cambridge University Press.
    Deconstruction and the Visual Arts brings together a series of new essays by scholars of aesthetics, art history and criticism, film, television and architecture. Working with the ideas of French philosopher Jacques Derrida, the essays explore the full range of his analyses. They are modelled on the variety of critical approaches that he has encouraged, from critiques of the foundations of our thinking and disciplinary demarcation, to creative and experimental readings of visual 'texts'. Representing some of the most innovative thinking (...)
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  44. Richard Viladesau (1999). Theological Aesthetics: God in Imagination, Beauty, and Art. OUP USA.
    This book explores the role of aesthetic experience in our perception and understanding of the holy. Richard Viladesaus goal is to articulate a theology of revelation, examined in relation to three principal dimensions of the aesthetic realm: feeling and imagination; beauty (or taste); and the arts. After briefly considering ways in which theology itself can be imaginative or beautiful, Viladesau concentrates on the theological significance of aesthetic data provided by each of the three major spheres of aesthetic perception and response. (...)
  45. Uttara Natarajan (1998). Hazlitt and the Reach of Sense: Criticism, Morals, and the Metaphysics of Power. Oxford University Press.
    The "only pretension, of which I am tenacious," wrote Hazlitt, "is that of being a metaphysician"; but his metaphysics, and particularly what this book identifies as his power principle, has until now been neglected. This exciting book studies Hazlitt's development of the power principle as a counter to the pleasure principle of the Utilitarians, and examines the revelation of power in his philosophy of discourse, his account of imaginative structure, his theory of genius, and his moral theory.
  46. Robert Grant (2003). Imagining the Real: Essays on Politics, Ideology and Literature. Palgrave Macmillan.
    Throughout its ten related essays, Imagining the Real contrasts our abstract imaginings about the human world with the imaginative insights provided by art and experience. It questions, variously, the relevance of game theory and sociobiology to politics the supposed intrinsic values of liberal freedom, cultural change, and democratic action and the claims of Marxism, deconstruction and "Theory" generally to be non-ideological. More positively, it reinterprets fiction as a specific invitation to imagine, and celebrates Shakespeare, L.H. Myers and Beckett as truly (...)
  47. George Boas (1937/1968). A Primer for Critics. New York, Phaeton Press.
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  48. Berel Lang (1975). Art & Inquiry. Detroit,Wayne State University Press.
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  49. Jim Hillier (ed.) (1985). Cahiers Du Cinéma, the 1950s: Neo-Realism, Hollywood, New Wave. Harvard University Press.
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  50. Mark W. Roskill (1983). Truth and Falsehood in Visual Images. University of Massachusetts Press.
  51. 1 — 50 / 691