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  1. 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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  2. 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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  3. 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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  4. 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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  5. Sign, Symbol, and System.Catherine Z. Elgin - 1991 - Journal of Aesthetic Education 25 (1):11.
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  6. 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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  7. 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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  8. 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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  9. 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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  10. 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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  11. 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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  12. 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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  13. Peltz on Goodman on Exemplification.John Coldron - 1982 - Journal of Aesthetic Education 16 (1):87.
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  14. Carolyn Bailey Gill, Ed., Maurice Blanchot: The Demand of Writing. [REVIEW]Victoria Burke - 1997 - Philosophy in Review 17:409-411.
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  15. 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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  16. In Memoriam: Flint Schier.Eva Schaper - 1989 - British Journal of Aesthetics 29 (1):72.
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  17. "The World of Icons": H. P. Gerhard. [REVIEW]David Talbot Rice - 1972 - British Journal of Aesthetics 12 (2):201.
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  18. 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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  19. Kunstgeschichte Als Geistesgeschichte: The Lesson of Panofsky.Albert William Levi - 1986 - Journal of Aesthetic Education 20 (4):79.
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  20. What Goodman Leaves Out.Catherine Z. Elgin - 1991 - Journal of Aesthetic Education 25 (1):89-95.
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  21. What Goodman Leaves Out-Reply to Elgin, Catherine.Wjt Mitchell - 1991 - Journal of Aesthetic Education 25 (4):137-139.
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  22. 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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  23. L'impossible Espace de" La Bibliothèque de Babel".Rudy Steinmetz - forthcoming - Rivista di Estetica.
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  24. The Intentional Relevance.Jeanette Emt - 1992 - Nordic Journal of Aesthetics 5 (8).
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  25. Evaluating Art.Dickie George - 1985 - British Journal of Aesthetics 25 (1):3-16.
  26. The Scope of the Intentional Fallacy.Emilio Roma Iii - 1966 - The Monist 50 (2):250 - 266.
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  27. 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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  28. 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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  29. ‘‘‘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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  30. 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.
  31. 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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  32. Goodman.Jenefer Robinson - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
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  33. Artistic Functions and the Intentional Fallacy.Clark Zumbach - 1984 - American Philosophical Quarterly 21 (2):147 - 156.
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  34. This Impossible Toyen.Malynne Sternstein - 2010 - In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
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  35. Beardsley on Metaphor.H. G. Callaway - 1986 - Restant 14, Text, Literature and Aesthetics 14:73-88.
    Monroe C. Beardsley has made seminal contributions to the on-going discussions of metaphor, contributions of continuing relevance and influence. His "Verbal Opposition Theory," like Max Black's "Interaction Theory," is a classic document of the contemporary semantic approach to metaphor, and has placed special emphasis upon the recognition of metaphor --the problem of the metaphorical warrant--which has lead to a deeper understanding of the complexities of this problem.
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  36. Gauguin and a Critical Fallacy.Jane Duran - 1994 - Journal of Aesthetic Education 28 (4):81-87.
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  37. Davidson on Metaphorical Meaning: A Reply to Stainton.John Michael McGuire - 2003 - Dialogue 42 (2):355-.
    That the central thesis of Donald Davidson’s classic article on metaphor “What Metaphor Means” (WMM) is ambiguous between a weak and a strong interpretation is the primary claim that I sought to establish in my article “Sentence Meaning, Speaker Meaning, and Davidson’s Denial of Metaphorical Meaning.” In addition to this, I argued that the weak claim is trivially true and the strong claim is obviously false. Therefore, I concluded that when the central thesis of WMM is disambiguated, it is insignificant. (...)
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  38. Metaphor and Davidson's Theory of Interpretation.Jay Allman - 2001 - Southern Journal of Philosophy 39 (1):1-22.
  39. 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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  40. Languages of Art and Art Criticism.Monroe C. Beardsley - 1978 - Erkenntnis 12 (1):95 - 118.
    What implications does goodman's "languages of art" have for the theory and practice of art criticism? to account for the cognitive value of pictorial representations, It apparently requires to be supplemented by a concept of depiction, Or indefinite reference. For goodman's theory of expression to be convincing, Criteria are needed to discriminate exemplification in goodman's sense from the mere possession of labels. Some of the fundamental criteria of evaluation very widely used by art critics do not seem to be those (...)
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  41. Hyman on Naturalism and the Ram Jug.T. S. Champlin - 1994 - British Journal of Aesthetics 34 (2):146-150.
  42. Zhuangzi and the Nature of Metaphor.Kim Chong Chong - 2006 - Philosophy East and West 56 (3):370-391.
    : While it is well known that Zhuangzi uses metaphor extensively, there is much less appreciation of the role that it plays in his thought—a topic that is investigated in this essay. At the same time, this investigation is closely concerned with questions about the nature of metaphor. Comparisons are made between a central metaphorical structure in the Zhuangzi on the one hand and contemporary views of the nature of metaphor by Donald Davidson and by Lakoff and Johnson on the (...)
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  43. Evaluating Art: Reprise.George Dickie - 1999 - British Journal of Aesthetics 39 (3):288-296.
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  44. Evaluating Art.Alan Goldman - 2004 - In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell. pp. 93--108.
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  45. Goodman's Account of Representation.N. G. E. Harris - 1973 - Journal of Aesthetics and Art Criticism 31 (3):323-327.
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  46. The Intentional Model in Interpretation.Alex Kiefer - 2005 - Journal of Aesthetics and Art Criticism 63 (3):271–281.
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  47. Diagrammatic Representation in Geometry.Dennis Potter - 2006 - Dialectica 60 (4):369–382.
    In this paper I offer a theory about the nature of diagrammatic representation in geometry. On my view, diagrammatic representaiton differs from pictorial representation in that neither the resemblance between the diagram and its object nor the experience of such a resemblance plays an essential role. Instead, the diagrammatic representation is arises from the role the components of the diagram play in a diagramatic practice that allows us to draws inferences based on them about the ojbects they represent.
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  48. A Leśniewskian Re-Examination of Goodman's Nominalistic Rejection of Classes.Judith M. Prakel - 1983 - Topoi 2 (1):87-98.
  49. Nelson Goodman's ‘Languages of Art’: A Study.Anthony Savile - 1971 - British Journal of Aesthetics 11 (1):3-27.
    Reviews goodman's claims about representation, Expression and identity of works of art. Claims that the underlying nominalist logic effectively prohibits our understanding of these notions (pace goodman) and leaves everything which is of specific artistic and aesthetic interest out of account.
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  50. In Memoriam Flint Schier: 22 December 1953 – 28 May 1988.Eva Schaper - 1989 - British Journal of Aesthetics 29 (1):72-72.
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