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  1. Vergegenwärtigung von Erfahrungen, Perspektivenübernahme und Empathie.Íngrid Vendrell-Ferran - 2018 - In Susanne Schmetkamp & Magdalena Zorn (eds.), Variationen des Mitfühlens. Empathie in Musik, Literatur, Film und Sprache. Mainz, Stuttgart:
    Der Aufsatz ist in zwei Teile gegliedert. Im ersten Teil unterscheide ich das Phänomen der Empathie von ähnlichen Phänomenen. Im zweiten Teil werde ich auf die Bedingungen für Empathie eingehen. In diesem Teil geht es mir darum zu zeigen, dass wir es trotz einiger Unterschiede zwischen Empathie für Mitmenschen und Empathie für Figuren mit demselben Phänomen zu tun haben.
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  2. Reproducing Refugees: Photographìa of a Crisis.Anna Carastathis & Myrto Tsilimpounidi - 2020 - London, UK: Rowman and Littlefield International.
    Since 2015, the ‘refugee crisis’ is possibly the most photographed humanitarian crisis in history. Photographs taken, for instance, in Lesvos, Greece, and Bodrum, Turkey, were instrumental in generating waves of public support for, and populist opposition to “welcoming refugees” in Europe. But photographs do not circulate in a vacuum; this book explores the visual economy of the ‘refugee crisis,’ showing how the reproduction of images is structured by, and secures hierarchies of gender, sexuality, and ‘race,’ essential to the functioning of (...)
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  3. Seeing Double: Assessing Kendall Walton’s Views on Painting and Photography.Campbell Rider - 2019 - Undergraduate Philosophy Journal of Australasia 1 (1):37-47.
    In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...)
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  4. Can Literature Be Moral Philosophy? A Sceptical View on the Ethics of Literary Empathy.Ingrid Vendrell Ferran - 2011 - In Sebastian Hüsch (ed.), Philosophy and Literature and the Crisis of Metaphysics.
    One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy for fictional (...)
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  5. Spur, Zeugnis Und Imagination: Der Erkenntniswert von Dokumentarfilmen.Íngrid Vendrell-Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1).
    In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...)
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  6. Jealousy and the Sense of Self: Unamuno and the Contemporary Philosophy of Emotion.Íngrid Vendrell-Ferran - forthcoming - Philosophy and Literature.
    This paper explores jealousy in Unamuno’s drama El otro. Drawing on contemporary philosophy of emotion, I will argue that for the Spanish author jealousy gives the subject a sense of self. The paper begins by embedding Unamuno’s philosophical anthropology in the context of contemporary emotion theory. It then presents the drama as an investigation into the affective dimension of self-identity. The third section offers an analysis of jealousy as an emotion of self-assessment. The final section discusses how this drama can (...)
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  7. A Stieglerianesque Critique Of Transhumanisms: On Narratives And Neganthropocene.Adrian Mróz - 2019 - Hybris 46:138-160.
    While drawing from the philosophy of Bernard Stiegler throughout the paper, I commence by highlighting Zoltan Istvan’s representation of transhumanism in the light of its role in politics. I continue by elaborating on the notion of the promise of eternal life. After that I differentiate between subjects that are proper for philosophy (such as the mind or whether life is worth living) and science (measurable and replicable). The arguments mostly concern mind-uploading and at the same time I elaborate on a (...)
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  8. The Aesthetic and Financial Markets. Beyond Mere Representing and Supporting.Marcin M. Krawczyk - 2019 - Contemporary Aesthetics 17.
    The aesthetic, according to Wolfgang Welsch, has several semantic variants. One of them is a phenomenalistic one. Referring to this variant, I show that the aesthetic is something more than a secondary component of electronic capital markets, which reflects what is happening to them and supports economic actors in their investment decisions. Namely, it is something that reaches out to such important things as the very existence and functioning of financial markets, their moral and social legitimization, the mode of participation (...)
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  9. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  10. Uccello's Fluttering Monument to Hawkwood, with Schwob and Artaud.Javier Berzal de Dios - 2016 - Diacritics 44 (2):86-103.
    At the twilight of the nineteenth century, the French symbolist writer Marcel Schwob assimilated Paolo Uccello (1397-1475) into modern sensibilities: “For Uccello did not care about the reality of things, but about their multiplicity and about the infinitude of lines.” Schwob’s consideration of Uccello (much like Antonin Artaud’s, who wrote the surrealist “Uccello le poil”) has been traditionally neglected by art historians. And yet, these literary encounters with the painter retain a sense of hermeneutical validity that, I argue, transcends the (...)
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  11. Metamorphoses of Aesthetics (Μεταμορφώσεις της αισθητικής) (in greek).Alexandra Mouriki - 2005 - Athens, Greece: Nefeli (2nd edition).
    Why does aesthetics matter in aesthetic education? What are the issues that this area of philosophy deals with, and what kind of questions does it raise in relation to art and the experience one has when s/he comes into contact with a work of art? Moreover, how can aesthetic theory provide sufficient justification for establishing aesthetic education as an autonomous and important field in education? In addressing these fundamental questions, the author: A) follows the development of aesthetics as a series (...)
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  12. The Cultural Landscape of Three-Dimensional Imaging.Sean F. Johnston - 2013 - In Martin Richardson (ed.), Techniques and Principles in Three-Dimensional Imaging: An Introductory Approach. Hershey, PA, USA: pp. 212-232.
    This article explores the cultural contexts in which three-dimensional imaging has been developed, disseminated and used. It surveys the diverse technologies and intellectual domains that have contributed to spatial imaging, and argues that it is an important example of an interdisciplinary subject. Over the past century-and-a-half, specialists from distinct fields have devised explanations and systems for the experience of 3-D imagery. Successive audiences have found these visual experiences compelling, adapting quickly to new technical possibilities and seeking new ones. These complementary (...)
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  13. Absorbing New Subjects: Holography as an Analog of Photography.Sean F. Johnston - 2006 - Physics in Perspective 8:164-188.
    I discuss the early history of holography and explore how perceptions, applications, and forecasts of the subject were shaped by prior experience. I focus on the work of Dennis Gabor (1900–1979) in England,Yury N. Denisyuk (1927-2005) in the Soviet Union, and Emmett N. Leith (1927–2005) and Juris Upatnieks (b. 1936) in the United States. I show that the evolution of holography was simultaneously promoted and constrained by its identification as an analog of photography, an association that influenced its assessment by (...)
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  14. Independência: libertação da arte na dimensão estética de Herbert Marcuse.Jair Soares - 2018 - Revista Diaphonía.
    Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...)
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  15. Die Person als Stellvertreter.Katrin Trüstedt - 2013 - In Jörg Dünne, Martin Jörg Schäfer & Myriam Suchet (eds.), Les Intraduisibles/Unübersetzbarkeiten. Paris, Frankreich: pp. 321–330.
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  16. The Realistic Angel: Pictorial Realism as Hypothetical Verity.Christopher Buckman - 2015 - Aesthetic Investigations 1 (1):49-58.
    My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case without (...)
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  17. Conversations on Art and Aesthetics.Hans Maes - 2017 - Oxford, UK: Oxford University Press.
    What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror (...)
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  18. Sign, Symbol, and System.Catherine Z. Elgin - 1991 - Journal of Aesthetic Education 25 (1):11.
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  19. Who is Afraid of Mimesis? Contesting the Common Sense of Indian Aesthetics Through the Theory of 'Mimesis' or Anukaraṇa Vâda.Parul Dave Mukherji - 2016 - In Arindam Chakrabarti (ed.), The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art. New York: Bloomsbury Academic. pp. 71-92.
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  20. Interpretation and the Implied Author: A Descriptive Project.Szu-Yen Lin - 2018 - Southern Journal of Philosophy 56 (1):83-100.
    The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...)
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  21. Interpretation and the Implied Author: A Descriptive Project.Szu-Yen Lin - 2018 - Southern Journal of Philosophy 56 (1):83-100.
    The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...)
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  22. Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports.Peg Zeglin Brand Weiser & Edward B. Weiser - 2016 - In Sherri Irvin (ed.), Body Aesthetics. Oxford University Press. pp. 192-221.
    The history of gender challenges faced by women in elite sports is fraught with controversy and injustice. These athletes' unique physical beauty creates what appears to be a paradox yet is, in fact, scientifically predictable. Intense training for the highest levels of competition leads to unique bodily strength and rare beauty associated with specific anatomic changes, leading top athletes to be singled out as exceptions from their gender and even excluded from competing. Authorities like the IOC and IAF, as well (...)
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  23. Bound to Beauty: An Interview with Orlan.Peg Zeglin Brand Weiser - 2000 - In Peg Zeglin Brand Weiser (ed.), Beauty Matters. Bloomington, IN: Indiana University Press. pp. 289-313.
    Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with Orlan (...)
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  24. Seeing Metaphor as Seeing‐As: Remarks on Davidson's Positive View of Metaphor.Lynne Tirrell - 1991 - Philosophical Investigations 14 (2):143-154.
    Davidson suggests that metaphor is a pragmatic (not a semantic) phenomenon; on his view, metaphor is a perlocutionary effect prompts its audience to see one thing as another. Davidson rightly attacks speaker-intentionalism as the source of metaphorical meaning, but settles for an account that depends on audience intentions. A better approach would undermine intentionalism per se, replacing it with a social practice analysis based on patterns of extending the metaphor. This paper shows why Davidson’s perceptual model fails to stave off (...)
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  25. Metaphor and Davidson’s Theory of Interpretation.Jay Allman - 2001 - Southern Journal of Philosophy 39 (1):1-22.
  26. Jan Mukařovský: The Semiology of Art.Ondřej Sládek - 2016 - Estetika 53 (2):184-235.
    An introduction to an English translation of Jan Mukařovský´s lecture The Semiology of Art. In this lecture Mukařovský, a Czech aesthetician, literary historian, theorist, and leading proponent of Czech structuralism, develops his interpretation of the semiotics of art from a detailed explanation of the basic functions of the artistic sign. He emphasizes the role of the aesthetic function, which is dominant but latently and potentially contained in all the other functions of the linguistic and the artistic sign. He then defines (...)
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  27. Vision, Image and Symbol.Fabio Fossa - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):165-174.
    During the Fifties and the Early Sixties Hans Jonas developed a theory of man based on a series of concepts as separation of form from matter, image and symbol. By reflecting on these themes, Jonas seems to refer to the aesthetic abilities man embodies as the essence of human life. In this article I try to analyse Jonas’ thoughts on man and to determine to what extent it is possible to consider his theory as an aesthetic anthropology. Eventually, I discuss (...)
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  28. Peltz on Goodman on Exemplification.John Coldron - 1982 - Journal of Aesthetic Education 16 (1):87.
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  29. Carolyn Bailey Gill, Ed., Maurice Blanchot: The Demand of Writing. [REVIEW]Victoria Burke - 1997 - Philosophy in Review 17:409-411.
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  30. From Instructional Social Computer Simulation to Heidegger's Aesthetics.Ron Shiro Saito - 2000 - Dissertation, Indiana University
    Using Schon's conception of reflection-in-action as an organizing structure, the author examines instructional social computer simulation by designing and reflecting upon computer prototypes and linking this analysis to appropriate literature. ;The author begins his study by examining the theoretical antecedents of model and location simulations. However, eventually agreeing with Dilthey's critique that society cannot be represented via scientific, law-like generalizations, he decides that model/location simulation reflects the "standard view of science" approach to the representation of society. ;Drawing from the interpretivist (...)
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  31. In Memoriam: Flint Schier.Eva Schaper - 1989 - British Journal of Aesthetics 29 (1):72.
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  32. "The World of Icons": H. P. Gerhard. [REVIEW]David Talbot Rice - 1972 - British Journal of Aesthetics 12 (2):201.
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  33. Drawing Acts: Studies in Graphic Expression and Representation.David Rosand - 2005 - Journal of Aesthetics and Art Criticism 63 (1):81-83.
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  34. Kierkegaard's Aesthetics and the Aesthetic of Imitation.Wojciech Kaftański - 2014 - Kierkegaard Studies Yearbook 19 (1):111-134.
    This paper challenges the general approach to Kierkegaard ’ s engagement with imitation, which privileges a strictly religious reading. Heretofore imitation has been apprehended as a coherent concept shaped within the context of imitatio Christi in the devotio moderna. I locate Kierkegaard ’ s writings in the broader context of mimesis. Analysing particular mimetic structures woven into the text, I show that a plurality of imitative models that are different fromChrist occurs therein. Addressing the distinction between the religious and the (...)
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  35. Kunstgeschichte Als Geistesgeschichte: The Lesson of Panofsky.Albert William Levi - 1986 - Journal of Aesthetic Education 20 (4):79.
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  36. What Goodman Leaves Out.Catherine Z. Elgin - 1991 - Journal of Aesthetic Education 25 (1):89-95.
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  37. What Goodman Leaves Out-Reply to Elgin, Catherine.Wjt Mitchell - 1991 - Journal of Aesthetic Education 25 (4):137-139.
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  38. Aesthetic Perception.Jennifer A. McMahon - 1996 - Communication and Cognition: An Interdisciplinary Quarterly Journal 29 (1):37-64.
    In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, provides an (...)
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  39. L'impossible Espace de" La Bibliothèque de Babel".Rudy Steinmetz - forthcoming - Rivista di Estetica.
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  40. The Intentional Relevance.Jeanette Emt - 1992 - Nordic Journal of Aesthetics 5 (8).
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  41. Evaluating Art.Dickie George - 1985 - British Journal of Aesthetics 25 (1):3-16.
  42. The Scope of the Intentional Fallacy.Emilio Roma Iii - 1966 - The Monist 50 (2):250 - 266.
    One of the more controversial articles published in the philosophy of criticism during the past twenty-five years is “The Intentional Fallacy” by W. K. Wimsatt, Jr. and Monroe Beardsley. Scholars from a variety of disciplines have expended a lot of energy in attacking and defending the Wimsatt-Beardsley position. Their efforts fall mainly into two classes. Either they have been exploratory with respect to the nature of the concept ‘intention’, but so exploratory as to present no tangible discovery; or they have (...)
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  43. Hobby Horses in Lascaux ? On Pictures and Semiosis.Jeroen Stumpel - 1993 - Argumentation 7 (1):103-117.
    This contribution is about semiology and art history. More specifically, it argues against the frequent claims that art history ought to take much more notice of semiology than it has tended to do so far. The argument against these claims is simple and basic: art history deals largely with images, and semiology does not — it has, in fact, little to say about them.Semiology has recently been presented as a “supra-disciplinary” theory” that, although in practice most often applied to written (...)
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  44. Arte como desrealización.Alessandro Bertinetto - 2006 - Daimon: Revista Internacional de Filosofía 39:175-185.
    The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...)
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  45. ‘‘‘Hegel, Formalism, and Robert Turner’s Ceramic Art’.Kenneth R. Westphal - 1997 - Jahrbuch für Hegelforschung 3:259–283.
    Hegel’s aesthetic ideal is the perfect integration of form and content within a work of art. This ideal is incompatible with the predominant 20th-century principle of formalist criticism, that form is the sole important factor in a work of art. Although the formalist dichotomy between form and content has been criticized on philosophical grounds, that does not suffice to justify Hegel’s ideal. Justifying Hegel’s ideal requires detailed art criticism that shows how form and content are, and why they should be, (...)
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  46. Finn Fordham, I Do, I Undo, I Redo: The Textual Genesis of Modernist Selves in Hopkins, Yeats, Conrad, Forster, Joyce, and Woolf. [REVIEW]Anna Mudde - 2011 - Symposium: Canadian Journal of Continental Philosophy/Revue canadienne de philosophie continentale 15 (2):234-236.
  47. Feminism and the Political Economy of Representation : Intersectionality, Invisibility and Embodiment.Anna Carastathis - 2009 - Dissertation,
    It has become commonplace within feminist theory to claim that women’s lives are constructed by multiple, intersecting systems of oppression. In this thesis, I challenge the consensus that oppression is aptly captured by the theoretical model of “intersectionality.” While intersectionality originates in Black feminist thought as a purposive intervention into US antidiscrimination law, it has been detached from that context and harnessed to different representational aims. For instance, it is often asserted that intersectionality enables a representational politics that overcomes legacies (...)
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  48. Sensible Atoms: A Techno-Aesthetic Approach to Representation. [REVIEW]Sacha Loeve - 2011 - NanoEthics 5 (2):203-222.
    This essay argues that nano-images would be best understood with an aesthetical approach rather than with an epistemological critique. For this aim, I propose a ‘techno-aesthetical’ approach: an enquiry into the way instruments and machines transform the logic of the sensible itself and not just the way by which it represents something else. Unlike critical epistemology, which remains self-evidently grounded on a representationalist philosophy, the approach developed here presents the advantage of providing a clear-cut distinction between image-as-representation and other modes (...)
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  49. Goodman.Jenefer Robinson - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
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  50. Artistic Functions and the Intentional Fallacy.Clark Zumbach - 1984 - American Philosophical Quarterly 21 (2):147 - 156.
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