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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: Franz Steiner Verlag.
    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. The Return of the Translator : From the Edge of Meaning to the Edge of Sense.Srajana Kaikini - 2017 - In Marianna Maruyama (ed.), Kunstlicht Special Issue : Translation as Method. Amsterdam, Netherlands: pp. 10 - 25.
    "Translation, as with any practice, is something to return to again and again. Opening this issue, curator and poet Srajana Kaikini’s multi-layered article, ‘The Return of the Translator’ underlines the relevance of translation as a critical process, available to anyone, in any field. Bringing in references to philosopher Sundar Sarukkai, poet Gangadhar Chittal, and Buddhist philosophical principles, she locates the place of translation. Kaikini looks closely at the ways “language and the world are in strange relation with each other,” to (...)
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  3. Being for Beauty: Aesthetic Agency and Value. [REVIEW]Alex King - 2020 - British Journal of Aesthetics 60 (1):99-102.
    Book Review of Being for Beauty: Aesthetic Agency and Value, by Dominic McIver Lopes. This review summarizes the book's main thread of argument and Lopes' positive view, which he dubs the "network theory". It ends by reflecting on whether Lopes' account of aesthetic normativity is ultimately satisfactory.
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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. Feeling for Freedom: K. C. Bhattacharyya on Rasa.Dominic McIver Lopes - 2019 - British Journal of Aesthetics 59 (4):465-477.
    Aesthetic hedonists agree that an aesthetic value is a property of an item that stands in some constitutive relation to pleasure. Surprisingly, however, aesthetic hedonists need not reduce aesthetic normativity to hedonic normativity. They might demarcate aesthetic value as a species of hedonic value, but deny that the reason we have to appreciate an item is simply that it pleases. Such is the approach taken by an important strand of South Asian rasa theory that is represented with great clarity and (...)
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  8. 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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  9. The Re-Orientation of Aesthetics and its Significance for Aesthetic Education. In The Turn to Aesthetics: An Interdisciplinary Exchange of Ideas in Applied and Philosophical Aesthetics.Alexandra Mouriki & D. Palmer, C. And Torevell - 2008 - Liverpool, UK: Liverpool Hope University Press.
    More and more these days it is asked whether aesthetics is still possible. A question that, given the context and phrasing, seems to direct us towards its answer. Conferences and meetings, books and journal specials examine the issue of aesthetics, talk about rediscovery or return of aesthetics. Well known philosophers and aestheticians underscore the need to reconsider the foundations of aesthetics and set new directions for aesthetics today (Berleant, 2004) or attempt to expand aesthetics beyond aesthetics–like Welsch, for example who (...)
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  10. The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 53 (4):1-22.
    The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...)
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  11. De la Trascendencia del Arte, Un Ensayo para el Arte Crítico.Markel Kortabarria - 2019 - Bilbao, Biscay, Spain: Hýbris.
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  12. Attentional Engines: A Perceptual Theory of the Arts.William P. Seeley - 2020 - New York, NY, USA: Oxford University Press.
    What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...)
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  13. The Axiology of Music: Systemic irrationality in judging the performance of music.Adrian Mróz - 2015 - Dissertation,
    This paper assumes that aesthetic judgements are irrational in nature. Judges and music experts often provide us with a description of their experiences as well as assessments, and thus set standards for beauty and skill. These assessments have an axionormative character. They can be evaluated by analyzing the statements made which describe the subjective and individual experiences that justify the judgment, or with the methods of heterophenomenology - proposed by Daniel Dennett - as well as through an analysis of cognitive (...)
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  14. Einführung in die philosophische Ästhetik.Maria Elisabeth Reicher - 2015 - Darmstadt: Wissenschaftliche Buchgesellschaft.
    Dieses Buch ist eine bewusst systematisch orientierte Einführung in die grundlegendsten Fragen der philosophischen Ästhetik. Es richtet sich in erster Linie an Studierende der Philosophie, aber auch an interessierte Laien und Vertreter/innen anderer Disziplinen. Zusammenfassungen, Übungsaufgaben und Literaturhinweise am Ende jedes Kapitels machen es auch für das Selbststudium geeignet. Aus dem Inhalt: I. Was ist philosophische Ästhetik? – Auf der Suche nach einer Definition der philosophischen Ästhetik – Die Gegenstände der philosophischen Ästhetik – Die Fragen der philosophischen Ästhetik – Die (...)
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  15. The Interactions of Function and Aesthetic Value in Artifacts.Robert Stecker - 2019 - Grazer Philosophische Studien 96 (1):19-36.
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  16. Functions and the Aesthetics of Technical Artefacts.Wybo Houkes - 2019 - Grazer Philosophische Studien 96 (1):37-55.
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  17. Things: In Touch with the Past. [REVIEW]Erich Hatala Matthes - 2019 - The Philosophers' Magazine 85:117-118.
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  18. Pragmatist Aesthetics and the Experience of Technology.David L. Hildebrand - 2018 - In Anders Buch & Theodore Schatzki (eds.), Questions of Practice in Philosophy and Social Theory. New York, NY, USA: pp. 114-135.
    Abstract: For most people, mobile phones and various forms of personal information technology (PIT) have become standard equipment for everyday life. Recent theorists such as Sherry Turkle raise psychological and philosophical questions about the impact of such technologies and practices, but deeper further philosophical work is needed. This paper takes a pragmatic approach to examining the effects of PIT practices upon experience. After reviewing several main issues with technology raised by Communication theorists, the paper looks more deeply at Turkle’s analysis (...)
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  19. 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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  20. The Offense of Poetry. [REVIEW]Zachary Gartenberg - 2009 - MLN 125:1211-1215.
    Review of Hazard Adams, The Offense of Poetry. For the Comparative Literature Edition of MLN (2009).
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  21. Gusto. Pensare la frattura. [REVIEW]Fabio Vergine - 2015 - Doppiozero 1.
  22. Games: Agency as Art.C. Thi Nguyen - forthcoming - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...)
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  23. 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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  24. Towards Gratitude to Nature: Global Environmental Ethics for China and the World.Bo R. Meinertsen - 2017 - Frontiers of Philosophy in China 12 (2):207-223.
    This paper asks what should be the basis of a global environmental ethics. As Gao Shan has argued, the environmental ethics of Western philosophers such as Holmes Rolston and Paul Taylor is based on extending the notion of intrinsic value to that of objects of nature, and as such it is not very compatible with Chinese ethics. This is related to Gao’s rejection of most—if not all—Western “rationalist” environmental ethics, a stance that I grant her for pragmatic reasons (though I (...)
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  25. The Aesthetic Value of Local Food.Matthew Adams - 2018 - The Monist 101 (3):324-339.
    Local food is often defended on environmental grounds. However, environmental defenses of local food are flawed, and all environmental defenses are limited as they at most establish that local food is instrumentally valuable. These deficiencies motivate a different approach. By drawing on the aesthetics of engagement, a theory of environmental aesthetics, I argue that local food has an overlooked intrinsic value; it can allow people to become engaged with—and thereby aesthetically appreciate—the environment. My argument charts a comparatively neglected area of (...)
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  26. Conceptions of Children's Artistic Giftedness From Modern and Postmodern Perspectives.David Pariser - 1997 - Journal of Aesthetic Education 31 (4):35.
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  27. Esthétique, Signification, et Valeur: Développements de la Seconde Philosophie de Ludwig Wittgenstein.Julian Friedland - 2000 - Dissertation, University of Paris 1 - Panthéon Sorbonne
    Notre etude se concentre principalement sur la "seconde philosophie" de Wittgenstein pour developper d'avantage le theme deja central depuis sa "premiere philosophie", selon lequel l'ethique et l'esthetique sont transcendentales. Nous etudions ainsi les relations entre l'esthetique, la signification et la valeur en reempruntant la methode de l'analyse linguistique par experiences de pensee, dont wittgenstein se servait pour devoiler les erreurs fatales du projet positiviste. Nous montrons que cette critique est particulierement propice aujourd'hui ou la majorite des philosophes analytiques importants partagent (...)
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  28. Living the Work: Meditations on a Lark.Jonathan A. Neufeld - 2011 - Journal of Aesthetic Education 45 (1):89.
    It is widely assumed that there is a blanket norm requiring the performer to present the work “in the best light possible,” and that the performer “make the ends of the work his own” or “live the work” in performance. Through careful consideration of a particular performance, I suggest that this is an inadequate conception of a performer’s obligations. I argue that the form of identification between performer and work commonly propounded by philosophers, musicologists, music teachers, and performers alike is (...)
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  29. Aesthetic Experience, Aesthetic Value.Jane Forsey - 2017 - Estetika 54 (2):175-188.
    This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.
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  30. The Deformity-Related Conception of Ugliness.Panos Paris - 2017 - British Journal of Aesthetics 57 (2):139-160.
    Ugliness is a neglected topic in contemporary analytic aesthetics. This is regrettable given that this topic is not just genuinely fascinating, but could also illuminate other areas in the field, seeing as ugliness, albeit unexplored, does feature rather prominently in several debates in aesthetics. This paper articulates a ‘deformity-related’ conception of ugliness. Ultimately, I argue that deformity, understood in a certain way, and displeasure, jointly suffice for ugliness. First, I motivate my proposal, by locating a ‘deformity-related’ conception of ugliness in (...)
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  31. Beauty, The Social Network.Dominic McIver Lopes - 2017 - Canadian Journal of Philosophy 47 (4):437-453.
    Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...)
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  32. Aesthetic Value of Paintings Affects Pain Thresholds ☆.Marina de Tommaso, Michele Sardaro & Paolo Livrea - 2008 - Consciousness and Cognition 17 (4):1152-1162.
    Pain is modulated by cognitive factors, including attention and emotions. In this study we evaluated the distractive effect of aesthetic appreciation on subjectively rated pain and multi-channel evoked potentials induced by CO2 laser stimulation of the left hand in twelve healthy volunteers. Subjects were stimulated by laser in the absence of other external stimulation and while looking at different paintings they had previously rated as beautiful, neutral or ugly. The view of paintings previously appreciated as beautiful produced lower pain scores (...)
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  33. Hearing The Difference: Aesthetic Value And The Compact Disc Notching Debate.Michael A. Principe - 1989 - International Journal of Applied Philosophy 4 (3):1-6.
  34. Cognitive Penetrability, Context, and Aesthetics: Nanay and Danto on the Gallery of Indiscernibles.Bradley Richards - 2016 - Philosophical Psychology 29 (7):981-992.
    Nanay has recently argued, on the basis of the cognitive penetrability of experience, that the attribution of aesthetically relevant properties supervenes on perceptual experience. I argue that this claim is false as stated and cannot be salvaged. I provide a series of thought experiments as counterexamples, showing that the title of an artwork can influence its ARPs, its meaning or value, and the accurate attributions of ARPs while the character of the perceptual experience of the piece remains constant. I introduce (...)
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  35. A Mysterious Case of Missing Value.Earl Conee - 2016 - Philosophic Exchange 45 (1):1-22.
    Sometimes there are conflicts about what we ought to do according to differing evaluative dimensions, like morality and self-interest. After sketching an interpretation of "ought" claims of all sorts, it is argued that there is no overriding evaluation that authoritatively resolves the conflicts. It is further argued that this is not altogether disappointing.
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  36. A Critical Realist Perspective on Aesthetic Value.Ian Verstegen - 2006 - Journal of Critical Realism 5 (2):323-343.
    _ Source: _Volume 5, Issue 2, pp 323 - 343 The following article attempts to bring critical realism to bear on the changing nature of aesthetic value. Beginning with the transitive-intransitive distinction, it is advised that we withhold judgment on the possibility of aesthetic judgment, lest we commit the epistemic fallacy. Without hoping to attain a form of aesthetic value absolutism, a strategy of ‘eliminative realism’ is introduced, which seeks to remove false causes of apparent judgmental relativism. Then a rough (...)
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  37. Literary Style.Wolfgang Huemer - 2016 - In Noël Carroll & John Gibson (eds.), Routledge companion to philosophy of literature. Routledge.
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  38. Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
    In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...)
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  39. Aesthetic Adjectives.Louise McNally & Isidora Stojanovic - 2014 - In James Young (ed.), The Semantics of Aesthetic Judgment. Oxford University Press.
    Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. We show (...)
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  40. Entangled Values: A Reply to Dodd.Robert Stecker - 2015 - British Journal of Aesthetics 55 (3):393-398.
    It is not uncommon these days to claim that we should distinguish between artistic value and other types of value, including aesthetic value. A problem for this proposal is posed by the fact that artworks have valuable properties that are no part of its artistic value. Unless there is a way to distinguish artistically valuable properties from other valuable properties, some will be unconvinced that the distinction is viable.1 For this reason, I have proposed a test for artistic value to (...)
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  41. The Heart of Reality Essays on Beauty, Love, and Ethics.Vladimir Sergeyevich Solovyov & Vladimir Wozniuk - 2003
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  42. Judgments in Ethics and Aesthetics.Dawn Elaine Jones - 1971 - Dissertation, Columbia University
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  43. Artistic Statement.Aditya Mandayam - 2010 - Flusser Studies 10 (1).
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  44. The Problem of Defining 'Art' and 'Artistic Value'.Paul James Hamilton - 1975 - Dissertation, Vanderbilt University
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  45. Alan H. Goldman, Aesthetic Value. [REVIEW]Eileen John - 1996 - Philosophy in Review 16:106-108.
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  46. A Focus on Artistic Creation: A Cognitive Approach to Art From the Standpoint of Artistic Creation.Marcela Leighton Krautter - 1984 - Dissertation, Queen's University at Kingston (Canada)
    A cognitive theory of art elaborated from the standpoint of the creative activity. The theory has been exposed against the background of a critical examination of two influential cognitive aesthetic positions; namely, those of Benedetto Croce and Susanne K. Langer. ;The four fundamental points being addressed are: Artistic Import: The theoretical framework to explain the relation between art and the world; to account for the continuity and discontinuity between art and life. As for the continuity between art and life, it (...)
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  47. Ethics And Aesthetics.K. Verma - 1999 - Eubios Journal of Asian and International Bioethics 9 (1):12-13.
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  48. The Sea as Medium for Artistic Experience.Hans H. Rudnick - 1985 - Analecta Husserliana 19:191.
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  49. The Death of Form: Artistic Being and Artistic Culture in Hegel.Cornelia Tsakiridou - 1990 - Dissertation, Georgetown University
    The thesis argues against the "death" of art interpretation from Hegel's definition of Darstellung and Vorstellung, his criticism of "irony" , his views on genius and originality, and the systematic distinction between "The Ideal" and "The Development of the Ideal" . ;Two texts neglected in the study of his aesthetics are given careful consideration, the "Psychology" and "The Artist" . ;Darstellung is interpreted to suggest artistic meaning that is exhaustively contained within the phenomenological object and irreducible to any analytical discourse (...)
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  50. Diary of a Seducer.Søen Kierkegaard & Gerd Gillhoff - 1969 - Elek.
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