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1 — 50 / 58
  1. added 2019-06-22
    Aparatos, imágenes y modo de pensar-las: la pantalla cíborg.Dr Guillermo Yáñez Tapia - 2019 - Revista Barda 5 (8):253-272.
    Desde una respuesta tentativa a la pregunta qué es una imagen se busca establecer el modo en que pensamos en, con y contra las imágenes. Se concentra la indagación en dos tipos particulares de imágenes, las generadas por el aparato digital, con el fin de articular conceptualmente el modo en que las imágenes cobran sentido y cómo dicho sentido surge desde el estatuto ontológico que encierra dicho aparato en particular. Desde una respuesta operativa y desde el concepto de modo de (...)
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  2. added 2019-05-15
    Restating The Case For Representation In The Philosophy Of Opera.Daniel Gallagher - 2005 - Postgraduate Journal of Aesthetics 2 (2):62-69.
    Opera dilettantes will forever argue over the relative importance of words and music in the creation and performance of their beloved art form. For philosophers brave enough to enter the fray, the issue raises a number of interesting ontological and phenomenological questions. In what does the work of opera primarily exist? What is distinctive of opera as a mode of dramatic presentation?
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  3. added 2019-05-06
    Gorsuch and Originalism: Some Lessons From Logic, Scripture, and Art.Harold Anthony Lloyd - manuscript
    Neil Gorsuch lauds judges who purport to “apply the law as it is, focusing backward, not forward, and looking to text, structure, and history to decide what a reasonable reader at the time of the events in question would have understood the law to be . . . .” It’s hard to see how such a form of Originalism withstands scrutiny. -/- First, using “reasonable reader” understandings rather than speaker meaning turns language and law on their heads. Audiences effectively become (...)
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  4. added 2019-05-06
    The Impact Of Aesthetic Imagination On Our Ethical Approach Towards Nature.Christian Denker - 2004 - Postgraduate Journal of Aesthetics 1 (2):51-58.
    Why is aesthetic experience of nature important in our everyday lives? This will be my main question. After defining the meaning of 'imagination' and 'aesthetic nature' in the context of Seel's thought, I will reflect on two aspects of this question. Firstly, I will focus on the function of imagination within our aesthetic experience of nature. Secondly, I will expose some ethical implications of the aesthetic approach to nature. My conclusion will emphasize the importance of aesthetic imagination for our personal (...)
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  5. added 2019-04-04
    Musical Profundity: Wittgenstein's Paradigm Shift.Eran Guter - 2019 - Apeiron. Estudios de Filosofia 10:41-58.
    The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take the opportunity to (...)
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  6. added 2018-10-25
    Fiction, Depiction, and the Complementarity Thesis in Art and Science.Elay Shech - 2016 - The Monist 99 (3):311-332.
    In this paper, I appeal to a distinction made by David Lewis between identifying and determining semantic content in order to defend a complementarity thesis expressed by Anjan Chakravartty. The thesis states that there is no conflict between informational and functional views of scientific modeling and representation. I then apply the complementarity thesis to well-received theories of pictorial representation, thereby stressing the fruitfulness of drawing an analogy between the nature of fictions in art and in science. I end by attending (...)
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  7. added 2018-10-19
    Las normas y su puesta en vigor: respuesta a Josep Corbí.Manuel Garcia-Carpintero - 2017 - Critica 49 (145):113-132.
    En su discusión “Obras de ficción, formas de conciencia y literatura”, Josep Corbí formula una serie de críticas certeras a mis ideas sobre la distinción que he hecho entre ficción y no ficción en Relatar lo ocurrido como invención. En esta nota de respuesta expongo primero de forma sucinta el núcleo de esas ideas y después proporciono las que considero las razones más decisivas para adoptarlas, a pesar de las dificultades que señala Corbí.
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  8. added 2018-09-16
    Nihilismus der Transparenz. Grenzen der Medienphilosophie Jean Baudrillards.Gregor Schiemann - 2013 - In Jan-Hendrik Möller (ed.), Paradoxalität des Medialen. Fink Verlag. pp. 237-254.
    Jean Baudrillards Kulturphilosophie läßt sich durch die Behauptung charakterisieren, daß die Medien in der modernen Kultur vorherrschend geworden sind. Seine These, die Medien hätten jeden Bezug zu einer von ihnen unabhängigen Realität verloren, haben zahlreiche Autorinnen und Autoren nihilistisch genannt. Das Zutreffende dieser Kennzeichnung verdankt sich im Wesentlichen einem eingeschränkten, auf das 19. Jahrhundert zurückweisenden Begriff des Nihilismus. Allerdings nimmt Baudrillard auf Phänomene Bezug, die er historisch später verortet und die sich ihrer Struktur nach kategorial von den Funktionen der Medien (...)
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  9. added 2018-05-17
    II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  10. added 2018-05-17
    The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
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  11. added 2018-05-17
    Realism and the Riddle of Style.Catharine Abell - 2006 - Contemporary Aesthetics 4.
    My concern in this paper is what, in Art and Illusion, Gombrich calls "the riddle of style". This is the problem of why people at different times and in different cultures have depicted objects in very different ways. An adequate solution to this problem will comprise an explanation of why depiction has a history. The problem seems intractable because of three common assumptions about the history of depiction that, while independently plausible, are inconsistent. First, we assume that this history is (...)
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  12. added 2018-03-22
    Prelude to a Theory of Musical Representation.Brandon Polite - 2017 - Revista Música 17 (1):89-108.
    In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread acceptance outside of the philosophy of art, (...)
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  13. added 2018-03-20
    Sculpture and Touch: Herder's Aesthetics of Sculpture.Rachel Zuckert - 2009 - Journal of Aesthetics and Art Criticism 67 (3):285-299.
    I present and analyze J.G. Herder’s aesthetics of sculpture, as an art form directed toward and appreciated by the sense of touch. I argue that Herder is unsuccessful in his attempt so to define sculpture, but his account is nonetheless fruitful, both in making salient and explaining signal aspects of sculptural appreciation and criticism and, more broadly and quite innovatively, in proposing an aesthetics of touch, even an embodied aesthetics.
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  14. added 2018-03-06
    Las Normas Y Su Puesta En Vigor: Respuesta a Josep Corbí.Manuel García-Carpintero - 2017 - Crítica. Revista Hispanoamericana de Filosofía 49 (145):113-132.
    In his paper “Obras de ficción, formas de conciencia y literatura”, Josep Corbí raises a few sharp objections to my distinction between fiction and non-fiction, as I formulate it in my recently published Relatar lo ocurrido como invención. In this response, I present first in a compact form such ideas, and then I try to answer to Corbí’s criticisms.
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  15. added 2018-03-05
    Representation as Epistemic Identification.John Dilworth - 2006 - Philo 9 (1):12-31.
    In a previous Philo article, it was shown how properties could be ontologically dispensed with via a representational analysis: to be an X is to comprehensively represent all the properties of an X. The current paper extends that representationalist (RT) theory by explaining representation itself in parallel epistemic rather than ontological terms. On this extended RT (ERT) theory, representations of X, as well as the real X, both may be identified as providing information about X, whether partial or comprehensive. But (...)
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  16. added 2018-02-17
    Kierkegaard's Phenomenology of Spirit.Ulrika Carlsson - 2016 - European Journal of Philosophy 24 (3):629-650.
    Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside, he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in (...)
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  17. added 2018-02-16
    The Fictionality of Plays.John Dilworth - 2002 - Journal of Aesthetics and Art Criticism 60 (3):263–273.
    The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...)
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  18. added 2017-12-14
    Wittgenstein and the Metaphysics of Ethical Value.Julian Friedland - 2006 - Ethic@ - An International Journal for Moral Philosophy 5 (1):91-102.
    This paper develops Wittgenstein’s view of how experiences of ethical value contribute to our understanding of the world. Such experiences occur when we perceive certain intrinsic attributes of a particular being, object, or location as valuable irrespective of any concern for personal gain. It is shown that experiences of ethical value essentially involve a characteristic ‘listening’ to the ongoing transformations and actualizations of a given form of life—literally or metaphorically speaking. Such immediate impressions of spontaneous sympathy and agreement reveal ethics (...)
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  19. added 2017-08-08
    Painting the Difference: Sex and Spectator in Modern Art, by Charles Harrison. [REVIEW]Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244–246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  20. added 2017-08-07
    ORLAN Revisited: Disembodied Virtual Hybrid Beauty.Peg Zeglin Brand Weiser - 2013 - In Peg Zeglin Brand Weiser (ed.), Beauty Unlimited. Bloomington, IN: Indiana University Press. pp. 306-340.
    I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...)
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  21. added 2017-08-07
    Aesthetic Alienation and the Art of Modernity.Rory J. Conces - 1994 - Southwest Philosophy Review 10 (2):149-164.
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  22. added 2017-08-06
    Beauty as Pride: A Function of Agency.Peg Zeglin Brand Weiser - 2011 - APA Newsletter on Philosophy and Medicine 10 (2):5-9.
    This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...)
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  23. added 2017-05-15
    Schema und Bild: Kant, Heidegger und das Verhältnis von Repräsentation und Abstraktion.Thomas Khurana - 2013 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 58 (2):203-224.
    The way in which a schema represents something is precisely by abstracting from some of its features; in a schema, representation and abstraction are thus not opposed to each other but rather internally related. The first part of this paper investigates this internal relation by delineating Kant’s concept of schema as the term mediating concept and intuition. Due to its pivotal position, however, the schema tends to collapse either into the conceptual or into the intuitive. The second part of the (...)
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  24. added 2017-03-09
    La superficie-referente en la retórica radical del objeto fascista representacional: la readecuación del índex en la estetización digital.Guillermo Yáñez Tapia - 2010 - Revista la Puerta FBA (3).
    Será tarea del pensamiento crítico recuperar la imagen para un discurso de la resistencia como un discurso efectivo frente a la inoperancia del objeto artístico difuso. A esto debe convocar al análisis crítico de la imagen hegemonizada por la superficie-referente. La radicalidad de dicha tarea debe buscar sus fuentes en el desplazamiento constante hacia la descripción de lo opaco en la estrategia representacional de una superficie-referente para la instalación del objeto fascista estetizante. Dicha radicalidad debe recuperar conceptualmente el desmantelamiento crítico (...)
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  25. added 2017-03-09
    Imagen digital: la “suspensión” de la distancia categorial moderna [o cómo operar desde los Estudios Visuales en la postmodernidad].Guillermo Yáñez Tapia - 2008 - Revista Estudios Visuales (5).
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  26. added 2017-03-07
    Media Parergon, Media Ergon: An Analytical Overview of the Grammar and Pragmatics of the Media Language.Rafael Duarte Oliveira Venancio - 2017 - SSRN Electronic Journal 2017:1-8.
    The present work has a central question: how a certain media distinguishes itself from the other communicational and linguistic apparatuses of the world. And with that, he turns on the big question of what each media practice would be. The hypothesis defended here is that each type of media, in its definition, is a language and not an apparatus. Using the concepts of Ludwig Wittgenstein, Jacques Derrida, Jean-François Lyotard and John R. Searle, the concepts of parergon and ergon are discussed. (...)
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  27. added 2016-09-07
    The Idea of the Postmodern. [REVIEW]Raymond Aaron Younis - 1998 - European Journal of Cultural Studies 1 (2):294-299.
  28. added 2016-09-05
    Hollywood, Vietnam and the National Imaginary: ‘Three Seasons'.Raymond Aaron Younis - 1999 - Asian Studies Association of Australia E-Journal (September).
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  29. added 2016-09-05
    Jane Campion's The Piano.Raymond Aaron Younis - 1993 - Cinema Papers 95 (October):50-52.
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  30. added 2016-08-08
    Jenseits des Illustrativen. Visuelle Medien Und Strategien Politischer Kommunikation, Göttingen 2015.Grüne Niels & Oberhauser Claus (eds.) - 2015 - V&R unipress.
  31. added 2016-02-26
    Good Looking.Jennifer Matey - 2016 - Philosophical Issues 26 (1):297-313.
    Studies show that people we judge to have good character we also evaluate to be more attractive. I argue that in these cases, evaluative perceptual experiences represent morally admirable people as having positive (often intrinsic) value. Learning about a person's positive moral attributes often leads us to feel positive esteem for them. These feelings of positive esteem can come to partly constitute perceptual experiences. Such perceptual experiences evaluate the subject in an aesthetic way and seem to attribute aesthetic qualities like (...)
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  32. added 2016-01-26
    Sculpture.Robert Hopkins - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 572-582.
    What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views of Susanne (...)
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  33. added 2015-09-18
    Bare Exteriority. Philosophy of the Image and the Image of Philosophy in Martin Heidegger and Maurice Blanchot.Emmanuel Alloa - 2005 - Colloquy (10):69-82.
    The article explores the striking coincidences in Heidegger's and Blanchot's account of the image as death mask. The analysis of the respective theories of the image brings forth two radically divergent conceptions of thinking as "laying patent" (Heidegger) and of thinking as "laying bare" (Blanchot).
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  34. added 2015-08-30
    Immersive Excess in the Apse of Lascaux.Joseph Nechvatal - 2005 - Technoetic Arts 3 (3):181-192.
    This paper will investigate the anonymous collective of skilled artists which created an immersive work of art of a high order in the Abside (Apse) of the Grotte de Lascaux. The Apse is a roundish, semi-spherical, penumbra-like chamber (like those adjacent to romanesque basiliques) approximately 4.5 metres in diameter (about 5 yards) covered on every wall surface (including the ceiling) with thousands of entangled, overlapping, engraved drawings (Leroi-Gourhan, 1968, p. 315) for which, on request, I received a very unique privilege (...)
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  35. added 2015-08-29
    A Correspondence Theory of Musical Representation.Brandon E. Polite - 2010 - Dissertation, University of Illinois Urbana-Champaign
    This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an intellectual struggle for what each side took to be the very future of music as an art. I side with the progressives, and argue that music can be and often is a representational medium. Correspondence (or resemblance) theories (...)
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  36. added 2015-08-29
    Book Review: Mimesis: Culture, Art, Society. [REVIEW]Gene Fendt - 1997 - Philosophy and Literature 21 (1):199-201.
  37. added 2015-08-29
    Carolyn Bailey Gill, Ed., Maurice Blanchot: The Demand of Writing Reviewed By.Victoria I. Burke - 1997 - Philosophy in Review 17 (6):409-411.
    This volume of essays is both a useful introduction to the work Maurice Blanchot and an advanced and interesting study of this work. Well-known themes of Blanchot's thought are addressed: 'death as non-dialectical other', 'conversation as a (non) meeting place', 'the absence of any present', 'the worklessness of the work' (which rewrites G.W.F. Hegel's 'work as sublation of contradiction', and 'the impossibility of any origin'. The book divides Blanchot's oeuvre into three periods: criticism, fiction, and a more recent period of (...)
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  38. added 2015-06-28
    Impurely Musical Make-Believe.Eran Guter & Inbal Guter - 2015 - In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter. pp. 283-306.
    In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...)
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  39. added 2015-06-23
    Epistemological Aspects of Modern Painting.L. Kvasz - 2000 - Filozofia 55 (8):601-619.
    The aim of the paper is to analyse the geometrical aspects of a series of modern paintings and to show the parallel between them and the development of modern geometry. It starts with El Greco, offering a geometrical explanation of his painting the figures in a prolonged manner. Further the analogy between the impressionist way of creating space and the geometrical idea of Cayley to use projective space as a basis for non-Euclidean geometry is reconstructed. Next the paper describes the (...)
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  40. added 2015-06-20
    Grundzüge der Ästhetik.Franz Brentano - 1959 - Francke.
    Brentanos Schriften zur Ästhetik schließen eng an das Grundprinzip der Logik und Ethik, die unmittelbare Einsicht in die Richtigkeit eines Urteils bzw. einer Gemütstätigkeit an: Auch das Schöne wird mit unmittelbarer Evidenz als liebenswert erfahren und einsichtig vom Unschönen unterschieden.
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  41. added 2015-06-08
    Kunst Und Erkenntnis (Art and Knowledge).Christoph Jäger & Georg Meggle (eds.) - 2005 - mentis.
    Dient Kunst der Erkenntnis? Vermittelt sie Einsichten oder Wissen? Und wenn ja: auf welche Weise? Sind ästhetische Urteile wahr oder falsch? Beruht unsere Wertschätzung von Kunst auf ihren kognitiven Funktionen? Zu diesen Fragen, die zu den klassischen Themen der Kunstphilosophie gehören, beziehen zehn Philosophen aus dem deutschen Sprachraum in Originalbeiträgen Position. Der Band dokumentiert den gegenwärtigen Stand der Kontroversen zwischen kognitivistischen und nichtkognitivistischen Theorien der Kunst und der Kunstbewertung. Mit Beiträgen von Rüdiger Bittner, Sabine A. Döring, Christoph Jäger, Bernd Kleimann, (...)
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  42. added 2015-03-25
    BeDevil.Raymond Aaron Younis - 1995 - In Scott Murray (ed.), Australian Film 1978-1994. Oxford University Press.
  43. added 2015-03-13
    The Dehumanization of Art, and Notes on the Novel.José Ortega Y. Gasset & Helene Weyl, tr - 1948 - Princeton University Press.
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  44. added 2015-03-10
    Review of Making Sense. A Theory of Interpretation. [REVIEW]Jennifer A. McMahon - 2002 - Australasian Journal of Philosophy 80 (1):107 – 109.
    The distinctive feature of Thom’s theory of interpretation is that it takes the classicist view regarding the stability of the object of interpretation, and the post-structuralist view regarding what counts as interpretation. Accordingly, he must admit the possibility that any one object of interpretation, stable though it be, can have multiple (yet possibly incommensurable) successful interpretations.
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  45. added 2015-02-25
    Space, Time, Being, and Estrangement.Raymond Aaron Younis - 2009 - Literature & Aesthetics 19 (2):41-49.
  46. added 2015-02-24
    Race Representation and Nation.Raymond Aaron Younis - 1997-1998 - Australian Canadian Studies 15 (2):43-65.
  47. added 2015-02-19
    The Last "Post".Raymond Aaron Younis - 1995 - In Michel Griifith James Tulip & Raymond Aaron Younis Elaine Lindsay (eds.), Religion Literature and the Arts. pp. 348-359.
  48. added 2015-01-20
    Review of The Meaning of the Body: Aesthetics of Human Understanding. [REVIEW]Jennifer Mcmahon - 2009 - Mind 118 (471):843-846.
    In this clearly written and well argued book, Mark Johnson presents a theory of embodied cognition and discusses the implications it has for theories of meaning, language and aesthetics. His pragmatist foundations are on show when he writes that ‘The so-called norms of logical inference are just the patterns of thinking that we have discovered as having served us well in our prior inquiries, relative to certain values, purposes, and types of situations’ (p.109). Johnson’s particular contribution to theories of meaning (...)
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  49. added 2014-08-12
    Samples as Symbols.Mark Textor - 2008 - Ratio 21 (3):344-359.
    Nelson Goodman and, following him, Catherine Z. Elgin and Keith Lehrer have claimed that sometimes a sample is a symbol that stands for the property it is a sample of. The relation between the sample and the property it stands for is called 'exemplification' (Goodman, Elgin) or 'exemplarisation' (Lehrer). Goodman and Lehrer argue that the notion of exemplification sheds light on central problems in aesthetics and the philosophy of mind. However, while there seems to be a phenomenon to be captured, (...)
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  50. added 2014-04-21
    Rappresentazione dell’inimmaginabile: l’immagine sacra, silenzioso “segno messianico”.Gaetano Iaia - 2011 - Capys 2 (2):255-267.
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1 — 50 / 58