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  1. Art as Testimony of Tradition and as Testimony of Order.Theodore George - 2017 - Internationales Jahrbuch für Hermeneutik 16 (1):107-120.
    Some critics charge that Gadamer’s approach to our experience of art remains mired in conservatism because he believes our experience of artworks depends on tradition. In this essay, I argue that this charge fails to address the full scope of Gadamer’s considerations of our experience of art. This becomes clear with an emendation that Gadamer appears to make to his Truth and Method account of artistic imitation, or, mimesis, in his later essay “Art and Imitation.” Whereas Gadamer’s approach to mimesis (...)
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  2. John Cage, Gilles Deleuze, and the Idea of Sound.Iain Campbell - 2017 - Parallax 23 (3):361-378.
    In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...)
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  3. Editors' Introduction.Jussi Backman, Harri Mäcklin & Raine Vasquez - 2017 - Journal of Aesthetics and Phenomenology 4 (2):93-99.
    A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.
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  4. Review: Peter Sloterdijk, Der Ästhetische Imperativ – Schriften Zur Kunst. [REVIEW]Sascha Rashof - 2016 - Theory, Culture and Society 33 (7-8):367-374.
  5. What Do We Hear When We Hear Music?: A Radical Phenomenology of Music.Ruud Welten - 2009 - Studia Phaenomenologica 9:269-286.
    In this contribution I want to sketch a phenomenology of music, expounding and expanding the philosophy of Michel Henry. In the work of Henry, several approaches to a phenomenology of music are made. The central question of the contribution is: “What do we hear when we hear music?” It is argued that there is an unbridgeable divide between the intentional sphere of the world and its sounds and what in Henry’s philosophy is understood as Life. Music is the language of (...)
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  6. Humor, Law, and Jurisprudence.Russell Ford - 2016 - Angelaki 21 (3):89-102.
    Dramatization and comedy are recurring themes in Deleuze's work in the 1960′s and, from his book on Nietzsche in 1962 through The Logic of Sense in 1969, remarks on humor and comedy are closely bound to ethical and political concerns. In Nietzsche and Philosophy, he speaks of the “true” and “false” senses of the tragic in order to frame his interpretation of Nietzsche as a whole, but the distinction acquires its immediate importance from its bearing on the question, “what is (...)
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  7. Why so Serious?Russell Ford - 2016 - Angelaki 21 (3):1-11.
    The Western philosophical tradition shows a marked fondness for tragedy. From Plato and Aristotle, through German idealism, to contemporary reflections on the murderous violence of the twentieth century, philosophy has often looked to tragedy for resources to make suffering, grief, and death thinkable. But what if, in showing this preference, philosophical thought has unwittingly and unknowingly aligned itself with a form of thinking that accepts injustice without protest? What if tragedy, and the philosophical thinking that mobilizes it, gives a tacit (...)
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  8. The Continental Aesthetics Reader.Clive Cazeaux (ed.) - 2000 - Routledge.
    _The Continental Aesthetics Reader_ brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition includes selections (...)
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  9. Klossowski’s Polytheism: An Introduction to Klossowski’s “Nietzsche, Polytheism, and Parody”.Russell Ford - 2004 - Bulletin de la Société Américaine de Philosophie de Langue Française 14 (2):75-81.
  10. Releasing the Image: From Literature to New Media.Jacques Khalip, Robert Mitchell, Giorgio Agamben, Cesare Casarino, Peter Geimer & Mark Hansen (eds.) - 2011 - Stanford University Press.
    It has become a commonplace that "images" were central to the twentieth century and that their role will be even more powerful in the twenty-first. But what is an image and what can an image be? _Releasing the Image_ understands images as something beyond mere representations of things. Releasing images from that function, it shows them to be self-referential and self-generative, and in this way capable of producing forms of engagement beyond spectatorship and subjectivity. This understanding of images owes much (...)
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  11. Alain Badiou's Anabasis: Rereading Paul Celan Against Heidegger.Tom Betteridge - 2015 - Textual Practice.
    The essay examines Alain Badiou's concept of ‘anabasis’ and its disclosure in the poetry of Paul Celan. As a conceptualisation of the process of subject formation, anabasis is read as a rejoinder to that of ‘homecoming’, found in Martin Heidegger's appropriation of Friedrich Hölderlin's poems. Following an excursus on the philosophical and the ethical stakes at the heart of these movements, the essay close-reads two of Celan's poems in order to reveal poetry's own attempts to think through trajectories of emergent (...)
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  12. Philosophy and Tragedy.Simon Sparks & Miguel de Beistegui (eds.) - 2000 - Routledge.
    From Plato's _Republic_ and Aristotle's _Poetics_ to Nietzsche's _The Birth of Tragedy_, the theme of tragedy has been subject to radically conflicting philosophical interpretations. Despite being at the heart of philosophical debate from Ancient Greece to the Nineteenth Century, however, tragedy has yet to receive proper treatment as a philosophical tradition in its own right. _Philosophy and Tragedy_ is a compelling contribution to that oversight and the first book to address the topic in a major way. Eleven new essays by (...)
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  13. Becoming-Other: Ontology and Aesthetics in the Critical Theory of Gilles Deleuze.Burcu Baykan - 2014 - In DAKAM LIT CRI '14/ III. Literary Criticism Conference: World Literature and LIterary Criticism Proceedings Book. DAKAM Publishing. pp. 55-60.
  14. Heidegger's Philosophy of Art.S. L. Bartky - 1969 - British Journal of Aesthetics 9 (4):353.
  15. The Purloined Poe. Lacan, Derrida and Psychoanalytic Readings. [REVIEW]Wilfried Ver Eecke - 1991 - Review of Metaphysics 44 (4):858-859.
  16. Philosophy and the Novel: Philosophical Aspects of Middlemarch, Anna Karenina, The Brothers Karamazov, A la Recherche du Temps Perdu, and of the Methods of Criticism. [REVIEW]D. W. Arentz - 1977 - Southwestern Journal of Philosophy 8 (1):174-175.
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  17. Migratory Rhetorics: Conrad, Salih and the Limits of Culture.Russell Ford - 2012 - In Amar Acheraiou & Nursel Icoz (eds.), Conrad and the Orient. Eastern European Monographs / Columbia UP. pp. 211-237.
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  18. Das Durchscheinende Bild. Konturen Einer Medialen Phänomenologie.Emmanuel Alloa - 2018 - diaphanes.
    Dass Bilder zwischen dem Regime der Dinge und dem Regime der Zeichen niemals einen angestammten Platz erhielten und nicht Gegenstand einer eigenen Wissenschaft wurden, ist keinem wiedergutzumachenden Vergessen geschuldet, sondern Ausdruck eines anfänglichen Skandalons, das historisch auch die Geburtsstunde der Philosophie einläutete. Bilder lassen sich nicht einmal als reine Erscheinungen absondern, weil in ihnen als Wasserzeichen stets durchscheint, was sie sichtbar werden ließ. An Husserls Grundlegung einer Phänomenologie des Bildes lässt sich das obstinate Unterfangen verfolgen, die Bilderscheinung von jeder medialen (...)
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  19. What is the Future of the Past? Gadamer and Hegel on the Work of Art in the Age of its Liberation.Theodore George - 2009 - Journal of the British Society for Phenomenology 40 (1):4-20.
    Some more recent scholarship that challenges received wisdom about Gadamer not withstanding, it remains common to associate his hermeneutical approach to art and literature, along with his hermeneutics generally, with political and cultural conservatism. In this essay, however, the author argues that some of Gadamer’s significant, but underappreciated, later essays on Hegel’s aesthetics further support and nuance the rising recognition of Gadamer’s sensitivity to the discontinuities, dislocations, and fractures that pervade any experience of the past. Specifically, Gadamer’s critical response in (...)
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  20. From Work to Play: Gadamer on the Affinity of Art, Truth, and Beauty.Theodore George - 2011 - Internationales Jahrbuch für Hermeneutik 10:107-122.
    In this essay, the author maintains that Gadamer’s affirmation of the relation among art, truth, and beauty is less a sign of conservatism or nostalgia than it is a key to his innovative and insightful examination of our experience of art. Gadamer’s approach to both the truth claim and the beauty of art flows from his association of the being of art with enactment (Vollzug). Yet, increasingly over the course of his writings, Gadamer appears to relinquishes talk of art in (...)
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  21. La plurinformación televisiva.Jesús Alcalde & Javier Reyes - 2005 - Telos: Critical Theory of the Contemporary 62:64-70.
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  22. From "No Future" to "Delete Yourself ".Robin James - 2013 - Journal of Popular Music Studies 25 (4).
    Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...)
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  23. Such a Deathly Desire.Pierre Klossowski & Russell Ford - 2007 - State University of New York Press.
    Provocative essays on language, literature, and the aesthetics of embodiment.
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  24. Mania, Depression, and the Future of Theory.Elizabeth Abel - 2004 - Critical Inquiry 30 (2):336-339.
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  25. Global Translatio: The “Invention” of Comparative Literature, Istanbul, 1933.Emily Apter - 2003 - Critical Inquiry 29 (2):253-281.
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  26. Marginalia on Mahler.T. W. Adorno - 1991 - Télos 1991 (87):79-84.
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  27. After the Aging of the New Music.D. Barbiero - 1989 - Télos 1989 (82):144-150.
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  28. The Aging of the New Music.T. W. Adorno - 1988 - Télos 1988 (77):95-116.
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  29. The Aesthetic Dimension. Toward a Critique of Marxist Aesthetics.C. F. Alford - 1981 - Télos 1981 (48):179-188.
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  30. Music and the New Music: In Memory of Peter Suhrkamp.T. W. Adorno - 1980 - Télos 1980 (43):124-138.
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  31. On the Social Situation of Music.T. W. Adorno - 1978 - Télos 1978 (35):128-164.
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  32. Music and Technique.T. W. Adorno - 1977 - Télos 1977 (32):79-94.
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  33. Alienated Masterpiece: The Missa Solemnis.T. W. Adorno - 1976 - Télos 1976 (28):113-124.
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  34. Lyric Poetry and Society.T. W. Adorno - 1974 - Télos 1974 (20):56-71.
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  35. What Is a Western? Politics and Self-Knowledge in John Ford's The Searchers.Robert B. Pippin - 2009 - Critical Inquiry 35 (2):223-253.
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  36. Novelization, a Contaminated Genre?Jan Baetens - 2005 - Critical Inquiry 32 (1):43-60.
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  37. Redefining the Sister Arts: Baudelaire's Response to the Art of Delacroix.Elizabeth Abel - 1980 - Critical Inquiry 6 (3):363-384.
    Baudelaire's response to Delacroix's art and theories provides a particularly fruitful focus for a study of the new rapport between the former sister arts. There is little similarity between Delacroix's action-filled exotic subjects and Baudelaire's more intimate and private poetry; their arts must therefore be related in some domain apart from content. We are aided in deciphering this domain by Baudelaire's extensive commentary on Delacroix. Moreover, perhaps because of its subtlety, the relationship between these arts has not received the attention (...)
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  38. A Plea for Visual Thinking.Rudolf Arnheim - 1980 - Critical Inquiry 6 (3):489-497.
    The habit of separating the intuitive from the abstractive functions, as they were called in the Middle Ages, goes far back in our tradition. Descartes, in the sixth Meditation, defined man as "a thing that thinks," to which reasoning came naturally; whereas imagining, the activity of the senses, required a special effort and was in no way necessary to the human nature or essence. The passive ability to receive images of sensory things, said Descartes, would be useless if there did (...)
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  39. On Judging Art Without Absolutes.James S. Ackerman - 1979 - Critical Inquiry 5 (3):441-469.
    That art historians have felt it necessary to emulate this effort to express personal input can be explained by our need to gain credibility in that aspect of our work that is indistinguishable in method from other historical research: the reconstruction, through documents and artifacts, of past events, conditions, and attitudes. Most of us simply ignore the ambivalence of our position; I cannot recall having heard or read discussions of it, but it is bound to creep out from under the (...)
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  40. Chasing Film Narrative: Repetition, Recursion, and the Body in Early Cinema.Jonathan Auerbach - 2000 - Critical Inquiry 26 (4):798-820.
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  41. Rationality and Imagination in Cultural History: A Reply to Wayne Booth.M. H. Abrams - 1976 - Critical Inquiry 2 (3):447-464.
    In retrospect, I think I was right to compose Natural Supernaturalism by relying on taste, tact, and intuition rather than on a controlling method. A book of this kind, which deals with the history of human intellection, feeling, and imagination, employs special vocabularies, procedures, and modes of demonstration which, over many centuries of development, have shown their profitability when applied to matters of this sort. I agree with Booth that these procedures, when valid, are in a broad sense rational, and (...)
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  42. Representing African Music.Kofi Agawu - 1992 - Critical Inquiry 18 (2):245-266.
    Among the fields of music study, ethnomusicology has wrestled most self-consciously with matters of representation. Since its inception in the late nineteenth century as vergleischende Musikwissenschaft [comparative musicology] and throughout its turbulent history, ethnomusicology has been centrally and vitally concerned with at least three basic issues and their numerous ramifications. First is the problem of locating disciplinary boundaries: is ethnomusicology a subfield of musicology, does it belong under anthropology or ethnology, or is it an autonomous discipline?1 Second is the problem (...)
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  43. Subject and Sentence: The Poetry of Tom Raworth.John Barrell - 1991 - Critical Inquiry 17 (2):386-410.
    Towards the end of Percy Bysshe Shelley’s fragment ‘The Triumph of Life’ there are some famous lines which raise most of the questions that will concern me in this essay. Never mind, for the moment, the context: the lines I have in mind are these: “I rose; and, bending at her sweet command, Touched with faint lips the cup she raised, And suddenly my brain became as sand “Where the first wave had more than half erased The track of deer (...)
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  44. The Intermediate Domain, or the Photographic Novel and the Problem of Value.Jan Baetens - 1989 - Critical Inquiry 15 (2):280-291.
    In recent years, the problem of value has been drastically pushed away towards the periphery of the discipline of literary studies. More and more, this fact has come to be experienced as a source of frustration and misunderstandings.1 In this article, I would like to show the great extent to which a value-oriented approach is in fact inevitable. By the same token, however, I will also indicate the disturbing ambiguities that the consideration of the value-dimension may reveal. The example I (...)
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  45. John Ashbery and the Challenge of Postmodernism in the Visual Arts.Charles Altieri - 1988 - Critical Inquiry 14 (4):805-830.
    It is an irony perhaps worthy of John Ashbery that the critics who made his reputation as our premier contemporary poet have virtually ignored the innovations which in fact make his work distinctively of our time. The received terms show us how Ashbery revitalizes the old wisdom of Keats or the virile fantasies of Emersonian strength but they do so at the cost of almost everything about the work deeply responsive to irreducibly contemporary demands on the psyche. Such omissions not (...)
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  46. Art Among the Objects.Rudolf Arnheim - 1987 - Critical Inquiry 13 (4):677-685.
    With the emergence of man from nature art emerged among the objects. There was nothing to distinguish or exalt it in the beginning. Art did not separate one kind of thing from the others but was rather a quality common to them all. To the extent to which things were made by human beings, art did not necessarily call for the skill of specialists. All things took skill, and almost everybody had it.This is the way an essayist in the eighteenth (...)
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  47. Visual Rhetoric in "The Autobiography of Alice B. Toklas".Paul K. Alkon - 1975 - Critical Inquiry 1 (4):849-881.
    Past, present, and future are reversed in the reader's encounter with the illustrations selected by Gertrude Stein for her Autobiography of Alice B. Toklas.1 After the table of contents there is a table of illustrations that encourages everyone to look at the pictures before they begin reading. During that initial examination, the illustrations forecast what is to be discovered in the text. Expectations are aroused by photographs showing Gertrude Stein in front of the atelier door, rooms hung with paintings, Gertrude (...)
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  48. Transactions in Architectural Design.James S. Ackerman - 1974 - Critical Inquiry 1 (2):229-243.
    It may seem reasonable, even inevitable, that architectural practice should be based on an understanding that architects, like lawyers and doctors, should discover their clients' needs and accommodate them to the best of their abilities. But current discussion within the legal and medical professions of the conflict between service to private individuals who can pay, and to the public who cannot, suggest an expanded or altered definition of professional responsibility. Actually, the conflict between public and private interest may be more (...)
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  49. On the Nature of Photography.Rudolf Arnheim - 1974 - Critical Inquiry 1 (1):149-161.
    When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...)
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  50. Notes From Babel: Toward a Colonial History of Comparative Literature.Siraj Ahmed - 2013 - Critical Inquiry 39 (2):296-326.
1 — 50 / 199