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1 — 50 / 682
  1. David E. Cooper (ed.) (1992). A Companion to Aesthetics. Blackwell Reference.
  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. C. G. Prado (1984). Making Believe: Philosophical Reflections on Fiction. Greenwood Press.
  4. Frank H. Farley & Ronald W. Neperud (eds.) (1988). The Foundations of Aesthetics, Art & Art Education. Praeger.
  5. Karol Berger (2000). A Theory of Art. Oxford University Press.
    What, if anything, has art to do with the rest of our lives, and in particular with those ethical and political issues that matter to us most? Will art created today be likely to play a role in our lives as profound as that of the best art of the past? A Theory of Art shifts the focus of aesthetics from the traditional debate of "what is art?" to the engaging question of "what is art for?" Skillfully describing the social (...)
  6. Larry Gross, John Stuart Katz & Jay Ruby (eds.) (1991). Image Ethics: The Moral Rights of Subjects in Photographs, Film, and Television. OUP USA.
    This pathbreaking collection of thirteen original essays examines the moral rights of the subjects of documentary film, photography, and television.
  7. 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, (...)
  8. 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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  9. Bernd Magnus (1993). Nietzsche's Case: Philosophy as/and Literature. Routledge.
    First published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.
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  10. 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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  11. 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 (...)
  12. Charles William Hughes (1970). The Human Side of Music. New York,Da Capo Press.
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  13. 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.
  14. 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.
  15. P. Sture Ureland (ed.) (2005). Integration of European Language Research. Logos.
  16. 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.
  17. 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 ...
  18. Timothy J. Reiss (1992). The Meaning of Literature. Cornell University Press.
    Introduction In Rene Wellek wrote that the "political attack on literature is a foolish generalization." He was dismissing those who would deprecate ...
  19. 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 (...)
  20. 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 ...
  21. Jean G. Harrell (1973). Aesthetics in Twentieth-Century Poland. Lewisburg [Pa.]Bucknell University Press.
    ACKNOWL K DGMENTS The editors wish to thank the following publishers for permission to use the following copyrighted material : British Journal of ...
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  22. 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.
  23. Anne D. R. Sheppard (1987). Aesthetics: An Introduction to the Philosophy of Art. Oxford University Press.
    Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives. Anne Sheppard divides her work into (...)
  24. Thomas E. Wartenberg (ed.) (2002). The Nature of Art: An Anthology. Harcourt College.
  25. 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 (...)
  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 (...)
  27. Joseph Margolis (1989). Texts Without Referents: Reconciling Science and Narrative. Basil Blackwell.
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  28. Mihai Spariosu (1989). Dionysus Reborn: Play and the Aesthetic Dimension in Modern Philosophical and Scientific Discourse. Cornell University Press.
    Introduction: Play, Power, and the Western Mentality Whereas play has always had an important, if sometimes unthemat- ized, role in Western literary ...
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  29. 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 (...)
  30. 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 ...
  31. Frederic Will (1988). Thresholds & Testimonies: Recovering Order in Literature and Criticism. Wayne State University Press.
  32. Moshe Barasch (1985/2000). Theories of Art. Routledge.
    In this volume, the third in his classic series on 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 the emerging interrelationship between scientific (...)
  33. John D. Barrow (1995). The Artful Universe. Oxford University Press.
    Our likes and dislikes--our senses and sensibilities--did not fall ready-made from the sky, argues internationally acclaimed author John D. Barrow. We know we enjoy a beautiful painting or a passionate symphony, but what we don't necessarily understand is that these experiences conjure up latent instincts laid down and perpetuated over millions of years. Now, in The Artful Universe, Barrow explores the close ties between our aesthetic appreciation and the basic nature of the Universe, challenging the commonly held view that our (...)
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  34. Monroe C. Beardsley (1975). Aesthetics From Classical Greece to the Present: A Short History. University of Alabama Press.
    The author examines all major aspects of Western aesthetic thought, and a third of the book focuses specifically on 19th-and-20th century aesthetic theory.
  35. 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.
  36. 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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  37. 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.
  38. 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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  39. Dennis J. Sporre (2011). Perceiving the Arts: An Introduction to the Humanities. Pearson.
    Introduction. What are the arts and how do we respond to and evaluate them? -- Pictures : drawing, painting, printmaking, and photography -- Sculpture -- Architecture -- Music -- Literature -- Theatre -- Cinema -- Dance.
  40. Joseph Chiari (1970/1961). Realism and Imagination. New York,Gordian Press.
  41. Ann Bugliani (1999). The Instruction of Philosophy and Psychoanalysis by Tragedy: Jacques Lacan and Gabriel Marcel Read Paul Claudel. International Scholars Publications.
  42. 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.
  43. 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 (...)
  44. George Boas (1937/1968). A Primer for Critics. New York, Phaeton Press.
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  45. Richard Shusterman (1988). T.S. Eliot and the Philosophy of Criticism. Columbia University Press.
  46. Berel Lang (1975). Art & Inquiry. Detroit,Wayne State University Press.
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  47. 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. (...)
  48. 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.
  49. Fernando Escalante Gonzalbo (2006). In the Eyes of God: A Study on the Culture of Suffering. University of Texas Press, Teresa Lozano Long Institute of Latin American Studies.
    "Every culture needs to appropriate the universal truth of human suffering," says Fernando Escalante, ". . . to give its own meaning to this suffering, so that human existence is bearable." Originally published in Spanish as La mirada de Dios: Estudios sobre la cultura del sufrimiento, this book is a remarkable study of the evolution of the culture of suffering and the different elements that constitute it, beginning with a reading of Rousseau and ending with the appearance of the Shoah (...)
  50. Thomas Docherty (1987). On Modern Authority: The Theory and Condition of Writing, 1500 to the Present Day. St. Martin's Press.
  51. 1 — 50 / 682