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1 — 50 / 692
  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. 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 ...
  3. David E. Cooper (ed.) (1992). A Companion to Aesthetics. Blackwell Reference.
  4. 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.
  5. Harry Edwin Eiss (2008). Insanity and Genius: Masks of Madness and the Mapping of Meaning and Value. Cambridge Scholars Pub..
  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. C. G. Prado (1984). Making Believe: Philosophical Reflections on Fiction. Greenwood Press.
  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. Giovanni Gentile (1972). The Philosophy of Art. Ithaca,Cornell University Press.
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  10. 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 (...)
  11. 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.
  12. Lawrence Ferrara (1991). Philosophy and the Analysis of Music: Bridges to Musical Sound, Form, and Reference. Greenwood Press.
  13. 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 (...)
  14. 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 (...)
  15. David Best (1978). Philosophy and Human Movement. Allen & Unwin.
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  16. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
  17. 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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  18. T. Minh-Ha Trinh (1991). When the Moon Waxes Red: Representation, Gender, and Cultural Politics. Routledge.
    In this collection of her provocative essays on Third World art and culture, award-winning filmmaker and theorist Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, Trinh examines Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology. In one essay, taking off from ideas raised earlier by Zora Neale Hurston, Trinh considers with astonishment the (...)
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  19. 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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  20. Joseph Margolis (1989). Texts Without Referents: Reconciling Science and Narrative. Basil Blackwell.
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  21. Maurice S. Friedman (1999). The Affirming Flame: A Poetics of Meaning. Prometheus Books.
  22. 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 ...
  23. 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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  24. David Simpson (ed.) (1984). German Aesthetic and Literary Criticism. Cambridge University Press.
  25. 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. (...)
  26. Doris Behrens-Abouseif (1999). Beauty in Arabic Culture. Markus Wiener Publishers.
  27. Peter Lamarque & Stein Haugom Olsen (eds.) (2004). Aesthetics and the Philosophy of Art: The Analytic Tradition: An Anthology. Blackwell Pub..
    "Aesthetics and the Philosophy of Art" also features a selection of key papers from subsequent contributors that illustrate how the debates developed and how ...
  28. Joseph Chiari (1977). Art and Knowledge. Gordian Press.
  29. E. F. Carritt (1931/1976). Philosophies of Beauty From Socrates to Robert Bridges: Being the Sources of Aesthetic Theory. Greenwood Press.
  30. Frank H. Farley & Ronald W. Neperud (eds.) (1988). The Foundations of Aesthetics, Art & Art Education. Praeger.
  31. 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 (...)
  32. Arthur Coleman Danto (1981). The Transfiguration of the Commonplace: A Philosophy of Art. Harvard University Press.
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  33. 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 (...)
  34. David Orrell (2012). Truth or Beauty: Science and the Quest for Order. Yale University Press.
    Infatuation -- Complication -- Maturation.
  35. Mary C. Gentile (1985). Film Feminisms: Theory and Practice. Greenwood Press.
  36. Gary Schmidgall (1990). Shakespeare & Opera. Oxford University Press.
    If opera had existed in Elizabethan London, the world's Top Bard, as W.H. Auden called him, might have become the world's Top Librettist. As Gary Schmidgall shows in this illuminating study, Shakespeare's expressive ways and dramaturgical means are like those of composers and librettists in numerous and often astonishing ways. No wonder that well over two hundred operas have been based on Shakespeare's plays. Ranging widely through the Shakespearean canon and the standard operatic repertory, Schmidgall presents a fascinating comparison, focusing (...)
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  37. 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 ...
  38. 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 ...
  39. 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.
  40. Michael D. Gose (2006). Getting Reel: A Social Science Perspective on Film. Cambria Press.
    This book is an easy-to-read, fun and provocative discussion of how to understand, appreciate, and evaluate film. Written by professor and film guru Michael Gose, the book is loved by students and moviegoers alike.
  41. Edmund J. Thomas (1990). Writers and Philosophers: A Sourcebook of Philosophical Influences on Literature. Greenwood Press.
  42. 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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  43. 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 (...)
  44. Elizabeth Angilette (1992). Philosopher at the Keyboard: Glenn Gould. Scarecrow 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. Mala Gitlin Betensky (1995). What Do You See?: Phenomenology of Therapeutic Art Expression. Jessica Kingsley.
  47. Philip Alperson (ed.) (1992). The Philosophy of the Visual Arts. Oxford University Press.
    Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the (...)
  48. 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 (...)
  49. Christopher Norris (2006). Platonism, Music and the Listener's Share. Continuum.
    This is an important piece of work from an influential and highly-acclaimed theorist exploring the New Musicology and other debates in recent philosophy of ...
  50. Kevin Barry (1987). Language, Music, and the Sign: A Study in Aesthetics, Poetics, and Poetic Practice From Collins to Coleridge. Cambridge University Press.
    Originally published in 1987, this book forms a conceptual account of the relationship between music and poetry in the late eighteenth and early nineteenth ...
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