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1 — 50 / 688
  1. Virgil C. Aldrich (1963). Philosophy of Art. Englewood Cliffs, N.J.,Prentice-Hall.
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  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. Harry Edwin Eiss (2008). Insanity and Genius: Masks of Madness and the Mapping of Meaning and Value. Cambridge Scholars Pub..
  4. David E. Cooper (ed.) (1992). A Companion to Aesthetics. Blackwell Reference.
  5. 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 ...
  6. David Best (1978). Philosophy and Human Movement. Allen & Unwin.
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  7. 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 (...)
  8. Stephen Davies & Ananta Charana Sukla (eds.) (2003). Art and Essence. Praeger.
  9. 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 ...
  10. Benjamin R. Tilghman (1984). But is It Art?: The Value of Art and the Temptation of Theory. B. Blackwell.
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  11. 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. (...)
  12. 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.
  13. 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.
  14. 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, ...
  15. 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 (...)
  16. Giovanni Gentile (1972). The Philosophy of Art. Ithaca,Cornell University Press.
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  17. 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 (...)
  18. 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 (...)
  19. Joseph Margolis (1989). Texts Without Referents: Reconciling Science and Narrative. Basil Blackwell.
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  20. Janet Wolff (1983). Aesthetics and the Sociology of Art. G. Allen & Unwin.
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  21. 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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  22. 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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  23. 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 (...)
  24. 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 (...)
  25. 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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  26. 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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  27. 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 ...
  28. Edmund J. Thomas (1990). Writers and Philosophers: A Sourcebook of Philosophical Influences on Literature. Greenwood Press.
  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. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
  31. C. G. Prado (1984). Making Believe: Philosophical Reflections on Fiction. Greenwood Press.
  32. Agnes Heller & Ferenc Fehér (eds.) (1986). Reconstructing Aesthetics: Writings of the Budapest School. B. Blackwell.
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  33. W. E. Kennick (1964). Art and Philosophy. New York, St. Martin's Press.
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  34. Doris Behrens-Abouseif (1999). Beauty in Arabic Culture. Markus Wiener Publishers.
  35. Daniel Alan Herwitz (1993). Making Theory/Constructing Art: On the Authority of the Avant-Garde. University of Chicago Press.
    Artists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-François Lyotard, Jean Baudrillard, and Andy (...)
  36. 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 ...
  37. Mary C. Gentile (1985). Film Feminisms: Theory and Practice. Greenwood Press.
  38. Noël Maureen Valis (2002). The Culture of Cursilería: Bad Taste, Kitsch, and Class in Modern Spain. Duke University Press.
    On origins -- Adorning the feminine, or the language of fans -- Salon poets, the Bécquer craze, and Romanticism -- Textual economies : the embellishment of credit -- Fabricating history -- The dream of negation -- The margins of home : modernist cursilería -- The culture of nostalgia, or the language of flowers -- Coda : the metaphor of culture in post-Franco Spain.
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  39. 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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  40. 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 (...)
  41. Warren E. Steinkraus (1974). Philosophy of Art. Benziger.
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  42. 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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  43. Douglas Burnham (2010). Nietzsche's the Birth of Tragedy: A Reader's Guide. Continuum.
    Introduction -- Context -- Overview of themes -- Reading the text -- Reception and influence.
  44. 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 (...)
  45. 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 (...)
  46. 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 ...
  47. 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.
  48. John C. Welchman (ed.) (1996). Rethinking Borders. University of Minnesota Press.
    The eight essays and three responses collected in Rethinking Borders were commissioned from an exciting range of leading younger writers, artists and intellectuals whose work has raised significant questions about the border cultures in ...
  49. E. F. Carritt (1931/1976). Philosophies of Beauty From Socrates to Robert Bridges: Being the Sources of Aesthetic Theory. Greenwood Press.
  50. 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 ...
  51. 1 — 50 / 688