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1 — 50 / 808
  1. José Ortega Y. Gasset (1975). Phenomenology and Art. W. W. Norton.
    Autobiography and phenomenology: Preface for Germans (1934).--Phenomenology and theory of knowledge: Sensation, construction, and intuition (1913). On the concept of sensation (1913). Consciousness, the object, and its three distances (1916).--Phenomenology and esthetics: An essay in esthetics by way of a preface (1914). Esthetics on the streetcar (1916).--An esthetics of historical reason: The idea of theater: an abbreviated view (1946). Reviving the paintings (Velázquez, chapter I) (1946).
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  2. Virgil C. Aldrich (1963). Philosophy of Art. Englewood Cliffs, N.J.,Prentice-Hall.
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  3. 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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  4. David Best (1978). Philosophy and Human Movement. Allen & Unwin.
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  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. Arthur Coleman Danto (1986). The Philosophical Disenfranchisement of Art. Columbia University Press.
    In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact--especially the essay "The End of Art," which dramatically announced that art ended in the 1960s--this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas, _The Philosophical Disenfranchisement of (...)
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  7. Stefan Morawski (1996). The Troubles with Postmodernism. Routledge.
    In this original and eye-opening study, Stefan Morawski sheds light on the notoriously inconclusive--and all too often confused--debate about the cultural significance of postmodernism and postmodernity. He shows how large the volume of historical and artistic knowledge needs to be to seriously grapple with the issues. Morawski unravels the complex strands which link our perception of postmodernism and postmodernity with aesthetic and human values whose roots lie deep in history. He discusses daily life in a consumer society, science and religion, (...)
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  8. 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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  9. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
  10. Joseph McBride (1992). Albert Camus: Philosopher and Littérateur. St. Martin's Press.
    Marking a major new reassessment of Camus' writing, this book investigates the nature and philosophical origins of Camus' thinking on "authenticity" and "the absurd" as these motions are expressed in "The Myth of Sisyphus" and "The Outsider", showing these books to be the product not only of a literary figure, but of a genuine philosopher as well. Moreover, the author provides a complete English-language translation of Camus' "Metaphysique Chretienne et Neoplatonisme" and underlines the importance of this study for the understanding (...)
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  11. John J. Joughin (2000). Philosophical Shakespeares. Routledge.
    Shakespeare continues to articulate the central problems of our intellectual inheritance. The plays of a Renaissance playwright still seem to be fundamental to our understanding and experience of modernity. Key philosophical questions concerning value, meaning and justice continue to resonate in Shakespeare's work. In the course of rethinking these issues, Philosophical Shakespeares focuses on and encourages the growing dissolution of boundaries between literature and philosophy. Philosophical Shakespeares includes contributions from the first rank of contemporary criticism, drawing together original and previously (...)
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  12. Milton Charles Nahm (1975/1974). Readings in Philosophy of Art and Aesthetics. Englewood Cliffs, N.J.,Prentice-Hall.
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  13. Harold Osborne (1955/1973). Aesthetics and Criticism. Westport, Conn.,Greenwood Press.
  14. Giovanni Gentile (1972). The Philosophy of Art. Ithaca,Cornell University Press.
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  15. Norman Nathan (1975). Prince William B.: The Philosophical Conceptions of William Blake. Mouton.
  16. 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 (...)
  17. Richard A. Fumerton & Diane Jeske (eds.) (2010). Introducing Philosophy Through Film: Key Texts, Discussion, and Film Selections. Wiley-Blackwell.
    "Introducing Philosophy Through Film" combines this novel pedagogical approach with all the virtues of a serious introductory anthology of classical and ...
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  18. Alex Neill & Aaron Ridley (eds.) (2002). Arguing About Art: Contemporary Philosophical Debates. Routledge.
    Arguing about Art, 2nd Edition is an expanded and revised new edition of this highly acclaimed anthology. This lively collection presents twenty-seven readings in a clear and accessible format discussing the major themes and arguments in aesthetics. Alex Neill and Aaron Ridley's introductions provide a balanced account of each topic and highlight the important questions that are raised in the readings. The new sections of the book are: The Art of Food; Rock Music and Culture; Enjoying Horror; Art and Morality (...)
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  19. Angela B. Moorjani (1992). The Aesthetics of Loss and Lessness. St. Martin's Press.
    This text probes the psychic and social roots of artistic scenarios of loss. Demonstrating that artistic activity is inextricably bonded to imaginary scripts of bereavement and these in turn to patterns of social dominance, the author argues in favor of an "aesthetics of lessness" that is, postmodern resistance to imaginary inscriptions of grief and their misogynist sequels. The book draws on psychoaesthetics, discourse theory and feminist social critiques to analyse literary visual figurations of loss. Included in its analysis of the (...)
  20. 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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  21. Anne Lyden (2003). Railroad Vision: Photography, Travel, and Perception. J. Paul Getty Museum.
    " With more than one hundred photographs, many from the collection of the Getty Museum, Railroad Vision illustrates the parallel histories of railroads and photography-from a photograph of George Stephenson's steam engine Locomotion, to ...
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  22. Maria Antonaccio (2000). Picturing the Human: The Moral Thought of Iris Murdoch. Oxford University Press.
    Iris Murdoch has long been known as one of the most deeply insightful and morally passionate novelists of our time. This attention has often eclipsed Murdoch's sophisticated and influential work as a philosopher, which has had a wide-ranging impact on thinkers in moral philosophy as well as religious ethics and political theory. Yet it has never been the subject of a book-length study in its own right. Picturing the Human seeks to fill this gap. In this groundbreaking book, author Maria (...)
  23. Paul B. Thompson (1998). Agricultural Ethics: Research, Teaching, and Public Policy. Iowa State University Press.
  24. Louis Arnaud Reid (1954/1973). A Study in Aesthetics. Westport, Conn.,Greenwood Press.
  25. Jean-Pierre Boulé & Ursula Tidd (eds.) (2012). Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books.
    This book is an attempt to redress this balance and reopen the dialogue between Beauvoir's writings and film studies.
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  26. Moshe Barasch (1990). Modern Theories of Art. New York University Press.
    In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and (...)
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  27. 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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  28. Melvin L. Alexenberg (2006). The Future of Art in a Digital Age: From Hellenistic to Hebraic Consciousness. Intellect.
    "This book offers a prophetic vision of art in a digital future.
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  29. Matthew Kieran & Dominic Lopes (eds.) (2003). Imagination, Philosophy, and the Arts. Routledge.
    Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. Imagination, Philosophy and the Arts represents the work of fifteen young yet distinguished philosophers of art, who critically examine just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. All new papers, a strong collection on the imagination (...)
  30. Joshua Fineberg (2006). Classical Music Why Bother?: Hearing the World of Contemporary Culture Through a Composer's Ears. Routledge.
    The famous quip "I don't know much about art, but I know what I like" sums up many people's ideas about how to judge a work of art; but there are inherent limitations if we rely on immediate impressions in judging what should be enduring products of our culture. While some might criticize this as a return to "elitism," Joshua Fineberg argues that without some way of determining intrinsic value, there can be no movement forward for creators or their audience. (...)
  31. E. F. Carritt (1931/1976). Philosophies of Beauty From Socrates to Robert Bridges: Being the Sources of Aesthetic Theory. Greenwood Press.
  32. 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 ...
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  33. Edmund J. Thomas (1990). Writers and Philosophers: A Sourcebook of Philosophical Influences on Literature. Greenwood Press.
  34. 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 (...)
  35. 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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  36. Stefan Morawski (1974). Inquiries Into the Fundamentals of Aesthetics. Cambridge, Mass.,MIT Press.
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  37. Warren E. Steinkraus (1974). Philosophy of Art. Benziger.
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  38. John Richardson (2011). An Eye for Music: Popular Music and the Audiovisual Surreal. Oxford University Press.
    Introduction -- Navigating the neosurreal : background and premises -- Neosurrealist tendencies in recent films -- Neosurrealist metamusicals, flow and camp aesthetics -- In tandem with the random : loose synchronisation and remediation in Philip Glass's -- La Belle et la Bête and The dark side of Oz -- The surrealism of the virtual band in the digital age : Gorillaz' "Clint Eastwood" and "Feel good inc." -- Back to the garden? Performing the disaffected acoustic imaginary in the digital age (...)
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  39. Theodore Meyer Greene (1940). The Arts and the Art of Criticism. Princeton, Princeton University Press.
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  40. Michael Bérubé (ed.) (2005). The Aesthetics of Cultural Studies. Blackwell.
  41. Peter Hutchinson (1983). Games Authors Play. Methuen.
    INTRODUCTION It was Eric Berne's Games People Play () which first alerted the world to the large number of 'games' which are played by individuals in ...
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  42. Edward Bullough (1957). Aesthetics. London, Bowes & Bowes.
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  43. Katherine J. Goodnow (2010). Kristeva in Focus: From Theory to Film Analysis. Berghahn Books.
    Introduction to Kristeva -- Horror/basic concepts: the abject and its varieties -- Horror/specifying the circumstances -- Strangers/basic concepts: strangers without and within -- Strangers/expansions: the stranger's story -- Love/basic concepts -- Love/basic concepts the text of society and history -- Love/ Expansions: Old and new discourses -- The text of society and history -- Women and social change.
  44. Edward Bullough (1957/1977). Æsthetics: Lectures and Essays. Greenwood Press.
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  45. Donald G. Marshall (ed.) (1987). Literature as Philosophy/Philosophy as Literature. University of Iowa Press.
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  46. Paul Crowther (1993). Critical Aesthetics and Postmodernism. Oxford University Press.
    In recent times considerable controversy has raged around the question of postmodern culture and its products. Paul Crowther attempts to overcome some of the antagonistic viewpoints involved by expounding and developing key themes from the work of Kant and Merleau-Ponty in the context of contemporary culture. His work analyzes topics such as the relation between art and politics, the problems of poststructuralist and feminist approaches to art, the re-emergence and relevance of theories of the sublime, and the continuing possibilities of (...)
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  47. Nicholas Saul (ed.) (2002). Philosophy and German Literature, 1700-1990. Cambridge University Press.
    Although the importance of the interplay of literature and philosophy in Germany has often been examined within individual works or groups of works by particular authors, little research has been undertaken into the broader dialogue of German literature and philosophy as a whole. Philosophy and German Literature 1700-1990 offers six chapters by leading specialists on the dialogue between the work of German literary writers and philosophers through their works. The volume shows that German literature, far from being the mouthpiece of (...)
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  48. 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 ...
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  49. Richard Rorty (1989). Contingency, Irony, and Solidarity. Cambridge University Press.
    In this book, major American philosopher Richard Rorty argues that thinkers such as Nietzsche, Freud, and Wittgenstein have enabled societies to see themselves as historical contingencies, rather than as expressions of underlying, ahistorical human nature, or as realizations of suprahistorical goals. This ironic perspective on the human condition is valuable but it cannot advance Liberalism's social and political goals. In fact, Rorty believes that it is literature and not philosophy that can do this, by promoting a genuine sense of human (...)
  50. Michael H. Mitias (ed.) (1986). Possibility of the Aesthetic Experience. Distributors for the U.S. And Canada, Kluwer Academic.
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