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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2017-01-17
    Deborah Shepard (forthcoming). Reframing Women: Gender and Film in Aotearoa New Zealand 1999–2014. Diogenes:0392192116667034.
    When my book Reframing Women: A history of New Zealand cinema was published in 2000 New Zealand women’s film was flourishing. There had been an explosion of filmmaking following the upsurge of twentieth century feminism in the 1970s beginning with the international women’s year film Some of My Best Friends are Women and the subsequent production of nine feminist documentary films. The energy generated by these films and the international feminist history projects that uncovered the formerly invisible contribution of women (...)
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  2. added 2017-01-17
    Nainjeet Singh Negi, Kanchan Bala, Pankaj Sharma & Ravinder Kumar Kotnala (forthcoming). Multiferroic and Magnetoelectric Properties of MnFe2O4/TiO3 Composite Films. Philosophical Magazine:1-15.
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  3. added 2017-01-17
    Eita Tochigi, Hirofumi Matsuhata, Hirotaka Yamaguchi, Takashi Sekiguchi, Hajime Okumura & Yuichi Ikuhara (forthcoming). Investigation of V-Shaped Extended Defects in a 4H–SiC Epitaxial Film. Philosophical Magazine:1-14.
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  4. added 2017-01-17
    Dominic McIver Lopes (forthcoming). Beauty, the Social Network1. Canadian Journal of Philosophy:1-17.
    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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  5. added 2017-01-17
    Skadi Loist (forthcoming). Crossover Dreams: Global Circulation of Queer Film on the Film Festival Circuits. Diogenes:0392192115667014.
    The ubiquity of gender-bending and sexually ambiguous imagery in the media seems to herald a post-gay era. But are LGBT/Q identities and representation politics really a thing of the past? Inspection of the circulation patterns of LGBT/Q images on a global scale suggests a more nuanced story. Taking the lead from distribution and film festival studies, in this essay I sketch out how LGBT/Q images travel around the world. The festival network was always an alternative channel to mainstream work. Therefore, (...)
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  6. added 2017-01-17
    Kalhat Javier (forthcoming). Peacocke on Depiction and the Visual Field. .
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  7. added 2017-01-17
    S. Purhonen & R. Heikkila (forthcoming). Food, Music and Politics: The Interweaving of Culinary Taste Patterns, 'Highbrow Musical Taste and Conservative Attitudes in Finland. Social Science Information.
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  8. added 2017-01-17
    Daniel Rubinstein (2017). Post-Representational Photography, or the Grin of Schrödinger's Cat. In .
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  9. added 2017-01-17
    Pieter G. R. de Villiers (2016). Re-Enchanted by Beauty. On Aesthetics and Mysticism. Hts Theological Studies 72 (4):1-7.
    The article investigates the potential of mysticism to revitalise theology. It firstly traces how aesthetics was understood in theology and provides reasons for this view. It then investigates how the predominant epistemological approach in theology privileged conceptual knowledge and relativised aesthetics as being subjective and therefore unreliable. It gives special attention to this epistemology by spelling out how the intellectualisation of contemporary theology intensified the process of obfuscating and sidelining aesthetics. In a third part, the article spells out the consequences (...)
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  10. added 2017-01-17
    Christopher Theodore Williams (2016). Paul Guyer, A History of Modern Aesthetics. Reviewed By. Philosophy in Review 36 (6):255-259.
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  11. added 2017-01-17
    Sandu Frunza (2016). Seeking Authenticity. Philosophy and Poetry in the Communication-Construed World. Journal for the Study of Religions and Ideologies 15 (45):162-178.
    The postmodern human lives in a quest condition. Poetry and philosophy, as forms that integrate, shape, and deposit the sacred, are part of the instruments used by postmoderns to fulfill their need for communication and personal accomplishment. Although they use different means to construe reality, poetry and philosophy may serve a common end goal – to disclose philosophy as the art of living. As communication practice, philosophy and poetry are based on an expanded rationality involving the rational extended to the (...)
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  12. added 2017-01-17
    Robert Sinnerbrink, Photobiographies : The 'Derrida' Documentaries as Film-Philosophy.
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  13. added 2017-01-17
    David Macarthur (2016). Living Our Skepticism of Others Through Film: Remarks In Light of Cavell. Substance 45 (3):120-136.
    In Stanley Cavell’s ethical universe, no concept is of more moment than that of acknowledgement. In Cavell’s view, the question of acknowledgement is not a matter of choice but is at issue whenever we confront, or are confronted by, others. To acknowledge is to admit or confess or reveal to someone, typically another, those things about oneself and one’s relations to the world and others that one, being human, cannot fail to know – except that “nothing is more human than (...)
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  14. added 2017-01-17
    Ricardo Miguel (2016). An Autonomist View on the Ethical Criticism of Architecture. Philosophy@Lisbon (5):131-141.
    It is a fact that there is ethical criticism about art. Art critics, the general public and even artists point out moral flaws in artworks while evaluating them. Philosophers, however, have maintained a hot debate on the meaning of such criticism. This debate can be understood as a disagreement about the kind of relation between the artistic value of artworks and their alleged moral value. While some claim that moral value can contribute to artistic value (moralism), others claim that there (...)
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  15. added 2017-01-17
    Hunt Andrew & Casser Anja, Concerning Concrete Poetry.
    Artists: Jeremy Adler, Annalisa Alloatti, Max Bense, Mirella Bentivoglio, Alison Bielski, Claus Bremer, Klaus Burkhardt, Bill Butler, Augusto de Campos, Henri Chopin, Paula Claire, Hans Clavin, Bob Cobbing, Kenelm Cox, Siegfried Cremer,Klaus-Peter Dienst, Rolf-Gunter Dienst, Reinhard Döhl, Fria Elfen, Öyvind Fahlström, Peter Finch, Ian Hamilton Finlay, John Furnival, Pierre Garnier, Mathias Goeritz, Lily Greenham, Bohumilá Grögerová, Dick Higgins, Josef Hiršal, Sten Hanson, Ludwig Harig, Lee Harwood, Helmut Heißenbüttel, Åke Hodell, Josef Honys, Dom Sylvester Houédard, Ernst Jandl, Jeff Keen, Günther C. (...)
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  16. added 2017-01-17
    Ramona Fotiade, Léon Chestov 1866-1938 : La Pensée du Dehors: Un Film de La Societe d'Études Léon Chestov Et le Passager Productions.
    A documentary film co-scripted and produced by the Director of the Lev Shestov Studies Society and Passager Productions to mark the existential philosopher's 150th anniversary. Several interviews with specialists from France, Canada, Switzerland and the UK accompany the biographical and critical interpretation of the author's interaction with French and German intellectuals during the 1920s and 1930s, as well as his influence on post-war European philosophers and writers. The film was launched during the retrospective exhibition organised at the Mairie du 6e, (...)
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  17. added 2017-01-17
    Robert Sinnerbrink & Lisa Trahair (2016). Introduction: Film and / as Ethics. Substance 45 (3):3-15.
    The relationship between film and philosophy, along with the idea of film as philosophy, has attracted widespread interest over the last decade. Film theorists and philosophers of film have explored not only the philosophical questions raised by cinema as an artform, but also the possibility that cinema might contribute to philosophical understanding or even engage in varieties of “cinematic thinking” that intersect with, without being reducible to, philosophical inquiry. Inspired by the work of Gilles Deleuze and Stanley Cavell, many theorists (...)
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  18. added 2017-01-17
    Mikuriya Junko Theresa, A History of Light: The Idea of Photography.
    When was photography invented, in 1826 with the first permanent photograph? If we depart from the technologically oriented accounts and consider photography as a philosophical discourse an alternative history appears, one which examines the human impulse to reconstruct the photographic or “the evoking of light”. Its significance throughout the history of ideas is explored via the Platonic Dialogues, Iamblichus' theurgic writings, and Marsilio Ficino's texts. This alternative history is not a replacement of other narratives of photographic history but rather offers (...)
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  19. added 2017-01-17
    Fiona Crisp, Hamish Fulton & Laure Prouvost, -Scape: Constructing Nature.
    There is a common expectation that as the landscape contains nature, then it is a natural thing. Yet, it is difficult to find a time when this has really been the case. It is frequently co-opted as part of the imagination of what landscape could, and ideally should, be. It can be a difficult thing to ‘read’. The three artists in –scape explore some of the diversions, delusions – as well as the delights - of the constructed landscape. In doing (...)
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  20. added 2017-01-17
    Christian Martin (2016). Poetry as a Form of Knowledge. SATS 17 (2):159-184.
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  21. added 2017-01-17
    Andrew Fiala, General Patton and Private Ryan: The Conflicting Reality of War and Films About War.
    From The Philosophy of War Films, page 335-354, available online: https://www.kentuckypress.com/live/title_detail.php?titleid=3324#.WBPirVdeCi4. Copyright?? 2014 by University of Kentucky Press.
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  22. added 2017-01-17
    Steen Ledet Christiansen, Drone Age Cinema:Action Film and Sensory Assault.
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  23. added 2017-01-17
    Tiago Morais Ribeiro de Sousa (2016). The Quest for “Authenticity”. Three Performances of a Bach’s Fugue Compared. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):177-196.
    This paper is meant as a contribution to the general issue of authenticity in musical performances, an issue often debated at a rarefied, speculative level, by introducing a comparison between three case studies consisting of the performative choices in three renown recordings of performances of Bach’s Fugue BWV 1000: two on the classical guitar and one on the lute. This approach allows us to pursue in greater detail the tacit aesthetic and ontological underpinnings of such options. Finally, I use the (...)
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  24. added 2017-01-17
    Jerrold Levinson (2016). Aesthetic Pursuits: Essays in Philosophy of Art. Oxford University Press.
    Aesthetic Pursuits is a new collection of essays from Jerrold Levinson, one of the most prominent philosophers of art today, focusing on literature, film, and visual art, while addressing issues of humour, beauty, and the emotions. More than half of the essays in the volume are previously unpublished.
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  25. added 2017-01-17
    Rudi Etteger, Beyond the Visible : Prolegomenon to an Aesthetics of Designed Landscapes.
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  26. added 2017-01-17
    Piotr Urbańczyk (2016). Copernicus Festival 2016: Beauty. Zagadnienia Filozoficzne W Nauce 61:201-210.
    Copernicus Festival, held annually, aims to demonstrate various dimensions of the relationship between science and culture. The third edition of the festival was devoted to the concept of beauty. During the six days of the festival about 7 thousand people took part in lectures, debates, discussions, workshops, concerts and other events.
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  27. added 2017-01-17
    Gregory Flaxman (2016). Once More, with Feeling: Cinema and Cinesthesia. Substance 45 (3):174-189.
    Asked to characterize the critical history of cinema studies over the past several decades, one could do much worse than to speak of the age of affect of affect.1 This is a big claim, of course, but it’s not without precedent or parallel. The engagement with affect describes a remarkably widespread shift in the humanities, social sciences, and the neurosciences. Cinema studies is among a number of disciplines that have sought to prioritize matters of sensation and feeling, and for roughly (...)
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  28. added 2017-01-17
    Angelos Koutsourakis (2016). The Ethics and Politics of Negation: The Postdramatic on Screen. Substance 45 (3):155-173.
    On June 22, 2008, in a television interview with Alexander Kluge, the Austrian filmmaker Michael Haneke was asked to explain his ethical approach to filmmaking. His response was that the prerequisite for making films ethically lies in a filmmaking practice that takes the spectator seriously and stimulates the viewer’s imagination. Haneke’s raison d’être is grounded in the idea that unlike literature, film runs the risk of restricting people’s imagination by showing and clarifying everything. As he says, “one ought to work (...)
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  29. added 2017-01-17
    Terrance H. McDonald (2016). Rupturing Theories of Affect and Film Theory. Symposium 20 (2):213-228.
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  30. added 2017-01-17
    Marcus Mota (2015). Comic Dramaturgy in Plato: Observations From the Ion. In Gabriele Cornelli (ed.), Plato's Styles and Characters: Between Literature and Philosophy. De Gruyter. pp. 157-172.
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  31. added 2017-01-17
    Ossowski Roman & Nogaj Anna Antonina (2015). Social Support as a Mediator for Musical Achievement. Polish Psychological Bulletin 46 (2):300-308.
    This article focuses on the issue of social support received by students of music schools in the context of their musical achievements. The theoretical part of this article contains the characteristics of factors related to the musical achievements of students; the support they receive from their environment is essential for their success in the process of musical education and their subsequent artistic career, in addition to their musical abilities and traits of personality. The research part is devoted to detailed analysis (...)
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  32. added 2017-01-17
    James Andow, A Semantic Solution to the Problem with Aesthetic Testimony.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the supposed peculiar difficulty with aesthetic (...)
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  33. added 2017-01-17
    Dara O'Brien, The Endless Search for SA: Spiritual Ideology in Hindustāni Music.
    This dissertation centres on philosophical attitudes presented by North Indian classical musicians in relation to the concept and experience of rāga improvisation. In Hindustāni music, there is a dynamic tension ideology and pragmatism, devotion and entertainment, fixity and improvisational freedom, and cognition and visceral experience. On one hand, rāga is an embodied methodological template for the creation of music. On the other hand, rāga improvisation is conceptualised as a path to metaphysical experience and as an evocation of an ineffable divine (...)
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  34. added 2017-01-17
    Ian Murphy, Corporeal Prisons: Dynamics of Body and Mise-En-Scène in Three Films by Paul Schrader.
    This thesis focuses on the complex relationship between representations of the human body and the formal processes of mise-en-scène in three consecutive films by the writer-director Paul Schrader: American Gigolo, Cat People and Mishima: A Life in Four Chapters. While Schrader’s work has typically been critiqued under the broad category of masculinity in crisis, I focus on a fiveyear early period of his filmography when he sought to explore his key themes of bodily crisis, fragmentation and alienation through an unusually (...)
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  35. added 2017-01-17
    Wit Pietrzak (2014). Recalling All the Olympians: W. B. Yeats’s “Beautiful Lofty Things,” On the Boiler and the Agenda of National Rebirth. Text Matters - a Journal of Literature, Theory and Culture 4 (4):222-236.
    While it has been omitted by numerous critics in their otherwise comprehensive readings of Yeats’s oeuvre, “Beautiful Lofty Things” has been placed among the mythical poems, partly in accordance with Yeats’s own intention; in a letter to his wife, he suggested that “Lapis Lazuli, the poem called ‘To D. W.’ ‘Beautiful Lofty Things,’ ‘Imitated from the Japanese’ & ‘Gyres’... would go well together in a bunch.” The poem has been inscribed in the Yeats canon as registering a series of fleeting (...)
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  36. added 2017-01-17
    Axia Marinescu (2014). Beauty and Judgement in German Aesthetics. Human and Social Studies 3 (1):124-138.
    The birth of aesthetics in the 18th century marks the passage from beauty to fine taste and the emergence of art as a separate sphere of culture. Indeed, before the Renaissance, art is not viewed separately from handcraft and the craftsman does not receive the distinctive status of a specialist of beautiful, an artist. This is due to two sets of reasons: first, the transformation of beauty, which becomes little by little a matter of taste and is subjective, and second, (...)
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  37. added 2017-01-17
    Joshua Billings, Genealogy of the Tragic: Greek Tragedy and German Philosophy.
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  38. added 2017-01-17
    Brinkerhoff Anna (2014). Resolving the Paradox of Fiction. Stance 7:41-50.
    In this paper, I examine the Paradox of Fiction: in order for us to have genuine and rational emotional responses to a character or situation, we must believe that the character or situation is not purely fictional, we believe that fictional characters and situations are purely fictional, and we have genuine and rational emotional responses to fictional characters and situations. After defending and against formidable objections and considering the plausibility of ~ in isolation of and, I conclude that we should (...)
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  39. added 2017-01-17
    Yve Lomax, Pure Means: Writing, Photographs and an Insurrection of Being.
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  40. added 2017-01-17
    Severin Schroeder, Music and Metaphor.
    Peter Kivy’s contour theory provides a promising explanation of the way we describe instrumental music as expressive of emotions. I argue that if, unlike Kivy, we emphasise the metaphorical character of such descriptions, the contour theory, as a strategy for unpacking such metaphors, can be defended convincingly against common objections. This approach is more satisfactory than those of Scruton and Peacocke, who make much of metaphorical experiences, but leave the underlying metaphors unexplained. Moreover, it gives the contour theory a wider (...)
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  41. added 2017-01-17
    De Gaynesford Maximilian, Speech Acts, Responsibility and Commitment in Poetry.
    Philosophy has tended to regard poetry primarily in terms of truth and falsity, assuming that its business is to state or describe states of affairs. Speech act theory transforms philosophical debate by regarding poetry in terms of action, showing that its business is primarily to do things. The proposal can sharpen our understanding of types of poetry; examples of the ‘Chaucer-Type’ and its variants demonstrate this. Objections to the proposal can be divided into those that relate to the agent of (...)
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  42. added 2017-01-17
    Francisco Yus (2013). Analyzing Jokes with the Intersecting Circles Model of Humorous Communication. Lodz Papers in Pragmatics 9 (1):3-24.
    Speakers of jokes are aware of the human cognitively rooted relevance-seeking inferential procedure and predict the interlocutor’s steps leading to a valid interpretation of the utterance in the joke. Specifically, speakers can predict the accessibility to certain information which builds up a proper scenario for understanding the joke, the inferential steps taken to turn the words uttered into contextualized meaningful propositions, and the awareness of cultural stereotypes regarding professions, nationalities, connoted places, sex roles, etc.. This inferred information is exploited to (...)
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  43. added 2017-01-17
    Anthony Barker (2013). On Not Being Porn: Intimacy and the Sexually Explicit Art Film. Text Matters - a Journal of Literature, Theory and Culture 3 (3):186-202.
    Since the mid-twentieth century, we have passed from a time where sexual frankness was actively obstructed by censorship and industry self-regulation to an age when pornography is circulated freely and is fairly ubiquitous on the Internet. Attitudes to sexually explicit material have accordingly changed a great deal in this time, but more at the level of the grounds on which it is objected to rather than through a general acceptance of it in the public sphere. Critical objections now tend to (...)
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  44. added 2017-01-17
    Maximilian De Gaynesford, Geoffrey Hill and Performative Utterance.
    Utterance of a sentence in poetry can be performative, and explicitly so. The best-known of Geoffrey Hill’s critical essays denies this, but his own poetry demonstrates it. I clarify these claims and explain why they matter. What Hill denies illuminates anxieties about responsibility and commitment that poets and critics share with philosophers. What Hill demonstrates affords opportunities for mutual benefit between philosophy and criticism.
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  45. added 2017-01-17
    De Gaynesford Maximilian, Speech Acts, Responsibility and Commitment in Poetry.
    Philosophy has tended to regard poetry primarily in terms of truth and falsity, assuming that its business is to state or describe states of affairs. Speech act theory transforms philosophical debate by regarding poetry in terms of action, showing that its business is primarily to do things. The proposal can sharpen our understanding of types of poetry; examples of the ‘Chaucer-Type’ and its variants demonstrate this. Objections to the proposal can be divided into those that relate to the agent of (...)
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  46. added 2017-01-17
    H. K. Yan (2013). Can Animals Sing? On Birdsong, Music and Meaning. Social Science Information 52 (2):272-286.
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  47. added 2017-01-17
    Tiberiu Brăilean (2013). Knowledge Into Beauty. Human and Social Studies 2 (1):7-8.
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  48. added 2017-01-17
    Jean-Jacques Nattiez (2013). The Narrativization of Music. Music: Narrative or Proto-Narrative? Human and Social Studies 2 (2):61-86.
    After describing the main features of the literary narrative and demonstrating its analogy with music, the author underlines the necessity not to consider a priori a musical production as a narrative. He analyses the intonation of musical contours as a form of proto-narrative which he later explains from the standpoint of Daniel Stern’s developmental psychology. It is then emphasized that music should be considered as a proto-narrative and the authors suggests a criticism of the so-called narratological musicology.
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  49. added 2017-01-17
    Emmanuel Bigand & Joanna Kantor-Martynuska (2013). Individual Differences in Granularity of the Affective Responses to Music. Polish Psychological Bulletin 44 (4):399-408.
    The main focus of the paper is the role of listeners’ emotion-relevant characteristics and musical expertise in the granularity of affective responses to music. Another objective of the study is to test the consistency of the granularity of affect that is perceived in music and/or experienced in response to it. In Experiment 1, 91 musicians and nonmusicians listened to musical excerpts and grouped them according to the similarity of the affects they experienced while listening. Finer grouping granularity was found in (...)
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  50. added 2017-01-17
    Catherine M. Lord (2012). At the Margins of the World: The Nature of Limits in Terrence Malick’s The Thin Red Line. Text Matters - a Journal of Literature, Theory and Culture 2 (2):62-75.
    Terrence Malick’s The Thin Red Line is an anti-war film which can be read as an Orphic narrative meditating on the relationship between humans and “nature.” Many scholarly readings of the film have been attracted by analyzes that explore the influences of Cavell and Heidegger on Malick. Kaja Silverman’s recent opus, Flesh of My Flesh, contains a chapter titled “All Things Shining.” She elegantly examines how Malick’s film explores the theme of “finitude.” She argues that, ontologically speaking, human existence gains (...)
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