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Summary

From a purely epistemological perspective, coming to terms with the category of “cross-cultural aesthetics” summons the clarification of the object’s nature, as well as that of the cultural specificities taken into consideration. It may either address the “crossing” of cultural viewpoints focusing on single aesthetic objects or topics – visual artworks and their reception, for instance –, or the scope of cultural/aesthetic interactions in a research field. Art anthropology has recently addressed the question of whether or not aesthetics should be concerned with ethno-cultural respects, and some scholars like Coote&Shelton, Geertz, and Overing (1994) even have sustained divided theoretical positions, like the inclusion of aesthetics in the field of cross-cultural category. 

Key works Lefrançois 2020Wiseman 2007
Introductions Lafrenz 2020; Lefrançois 2020Alvarenga 2013
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48 found
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  1. Ainu Aesthetics.Mara Miller & Koji Yamasaki - forthcoming - In Minh Nguyen (ed.), New Studies in Japanese Aesthetics. Lexington Books.
    Ainu artists were invited to make “replicas” of traditional Ainu arts held in an important museum collection and describe their choices, process and results. The resulting Ainu aesthetics challenges—and changes—our understanding of aesthetics and the philosophy of art, on four levels: descriptive aesthetics, categorical aesthetics (the categories through which the Ainu understand aesthetic value), implications of these aesthetics for a variety of human activities such as museum practice and daily life, and the implications of the first three for our broader (...)
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  2. A Conversation on a Paradise on Earth in Eight Frames.Tordis Berstrand, Amir Djalali, Yiping Dong, Jiawen Han, Teresa Hoskyns, Siti Balkish Roslan, Glen Wash Ivanovic & Claudia Westermann - 2022 - East Asian Journal of Philosophy 1 (3):95-116.
    Once known as the city of silk, Suzhou 苏州 has become the centre of wedding dress production, selling paradise on earth for one day, including copies of the last royal wedding dress, out of shops at the foot of mythic Tiger Hill. Suzhou is also the host of what is known as the Silicon Valley of the East. It has attracted millions of migrants searching for a better future; millions of tourists visit every year to experience the past, strolling through (...)
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  3. Transitions: Crossing Boundaries in Japanese Philosophy.Leon Krings, Francesca Greco & Yukiko Kuwayama (eds.) - 2021 - Nagoya: Chisokudō.
    The tenth volume of the Frontiers of Japanese Philosophy focuses on the theme of “transition,” dealing with transitory and intermediary phenomena and practices such as translation, transmission, and transformation. Written in English, German and Japanese, the contributions explore a wide range of topics, crossing disciplinary borders between phenomenology, linguistics, feminism, epistemology, aesthetics, political history, martial arts, spiritual practice and anthropology, and bringing Japanese philosophy into cross-cultural dialogue with other philosophical traditions. As exercises in “thinking in transition,” the essays reveal novel (...)
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  4. A sereia e o desavisado: Ideologia Francesa, crítica dialética e a “matéria brasileira”.Raphael F. Alvarenga - 2020 - Sinal de Menos 14:228-62.
    Since the 1980s, there have been many attempts to bring together Critical Theory of Frankfurtian strain and French theories generally referred to as poststructuralist. The present text seeks to readdress the problem of their tricky articulation by taking a look at some vicissitudes those two currents of thought underwent in Brazil. In addition to the risk – embedded in the Parisian passion for dissolution – of positivizing atrocious aspects of Brazilian society related to the country’s multi-secular informality and backwardness, what (...)
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  5. Art Across Cultures and Art by Appropriation.Mark Lafrenz - 2020 - Journal of Aesthetic Education 54 (2):1.
    Perceptually indistinguishable artifacts may be artworks in some cultures but not be artworks in others, and artifacts that were not artworks in the context of their original creation can become artworks in contexts of appropriation, that is, in contexts in which they are brought under a cross-culturally appropriate concept or definition of art. A certain background of historical and cultural conditions, some of them theoretical, is necessary for something to be or to become an artwork. It is crucial to my (...)
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  6. Assemblage du paradigme proto-esthétique aux Amériques.Frédéric Lefrançois - 2020 - Recherches 1 (25):143-153.
    This paper focuses on the conception of an endogenous aesthetic matrix in the Caribbean and the Americas within a decolonial perspective.
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  7. Respect, Responsibility and Ruins.Jeremy Page & Elisabeth Schellekens Dammann - 2020 - In Carolyn Korsmeyer, Jennifer Judkins & Jeanette Bicknell (eds.), Philosophical Perspectives on Ruins, Monuments, and Memorials. New York: Routledge. pp. ch.20.
    A person can appropriately manifest respect toward a world heritage ruin by developing a sensitive understanding of the ruin’s cultural and historical context and significance. In this paper, we link such respectful understanding to the question of the aesthetic appreciation of world heritage ruins. Our claim is that an aesthetic appreciation of a world heritage ruin qua world heritage ruin typically involves two things: first, the responsibility not to neglect the individuality of the object, and, second, a commitment to the (...)
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  8. Chinese Landscape Aesthetics: The Exchange and Nurturing of Emotions.Claudia Westermann - 2020 - In Jutta Kehrer (ed.), New Horizons: Eight Perspectives on Chinese Landscape Architecture Today. Basel, Switzerland: pp. 34-37.
    "[..] flowing with the waters, halting with the mountains. In the images of light and wind the ephemeral is inscribed. Time is part of space. The scene performs." -/- The essay "Chinese Landscape Aesthetics: the exchange and nurturing of emotions" by Claudia Westermann included in "New Horizons: Eight Perspectives on Chinese Landscape Architecture Today" introduces ideas of landscape in traditional Chinese thought. Following the etymology of the Chinese terms for landscape and recognizing that their conceptual focus is on the exchange (...)
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  9. La sociedad del espectáculo de Guy Debord: 50 años después.José Ramón Fabelo Corzo - 2019 - In José Ramón Fabelo Corzo & Mayra Sánchez Medina (eds.), Coordenadas epistemológicas para una estética en construcción. Puebla, Pue., México: pp. 259-274.
    En 1967, el francés Guy Debord escribía un resonante texto, La sociedad del espectáculo, en el que nos ofrece una penetrante y aguda reflexión sobre la sociedad de consumo —cuya experiencia directa vive en la Francia de la posguerra—, donde florece la economía de la abundancia, la industria del ocio, la generalización de los medios de comunicación audiovisual y la propagación del llamado american way of life. Anclado fuertemente en las ideas de Marx sobre la alienación y el fetichismo mercantil, (...)
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  10. Ally Aesthetics.Jeremy Fried - 2019 - Journal of Aesthetics and Art Criticism 77 (4):447-459.
    In this article I discuss what I am calling “ally aesthetics.” I suggest a set of necessary, though not necessarily sufficient, considerations for the creation of successful instances of ally art. Focusing on three case studies, I propose some key characteristics of ally aesthetics, such as its contextual/temporal nature and how that relates to success and the importance of understanding the place of the ally aesthetic within the larger movements they are allying with.
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  11. Remembering Melodies From Another Culture: Turkish and American Listeners Demonstrate Implicit Knowledge of Musical Scales.Timothy Justus, Charles Yates, Nart Bedin Atalay, Nazike Mert & Meagan Curtis - 2019 - Analytical Approaches to World Music 7 (1).
    Beyond the major-minor tonality that characterizes classical and contemporary Western musical genres, Turkish classical and folk music offer experimental psychologists a rich modal system in which cognition, development, and enculturation can be studied. Here, we present a cross-cultural experiment concerning implicit knowledge of musical scales. Five groups of participants—American musicians and nonmusicians, Turkish musicians and nonmusicians, and Turkish classical and folk music listeners—were asked to listen to brief melodies composed using the member tones of either the major scale or the (...)
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  12. Art Beyond Morality and Metaphysics: Late Joseon Korean Aesthetics.Hannah H. Kim - 2019 - Journal of Aesthetics and Art Criticism 77 (4):489-498.
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  13. Herder's Naturalist Aesthetics.Rachel Zuckert - 2019 - Cambridge University Press.
    In this book, Rachel Zuckert provides the first overarching account of Johann Gottfried Herder's complex aesthetic theory. She guides the reader through Herder's texts, showing how they relate to eighteenth- and nineteenth-century European philosophy of art, and focusing on two main concepts: aesthetic naturalism, the view that art is natural to and naturally valuable for human beings as organic, embodied beings, and - unusually for Herder's time - aesthetic pluralism, the view that aesthetic value takes many diverse and culturally varying (...)
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  14. CHAKRABARTI, ARINDAM, Ed. The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art. New York: Bloomsbury Academic, 2016, 417 Pp., 5 Color + 37 B&W Illus., $176.00 Cloth. [REVIEW]Nalini Bhushan - 2017 - Journal of Aesthetics and Art Criticism 75 (2):201-205.
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  15. POLLOCK, SHELDON, Trans. And Ed. A Rasa Reader: Classical Indian Aesthetics. Columbia University Press, 2016, Xxiv + 442 Pp., $80.00 Cloth. [REVIEW]Mary Wiseman Goldstein - 2017 - Journal of Aesthetics and Art Criticism 75 (2):205-208.
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  16. Cultural Revolution: Mykhail Semenko, Ukrainian Futurism and the “National” Category.Oleh S. Ilnytzkyj - 2017 - Kyiv-Mohyla Humanities Journal 4:45-52.
    This paper examines Mykhail Semenko’s Futurist manifestos that developed an opposition between “national” and “international” art, and specifically called “national” art provincial and retrograde. In promoting the international European avant-garde, Semenko’s essays demonstrate how consistently he championed a contemporary and modern Ukrainian culture in the face of home-grown conservatism.
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  17. The Woman-and-Tree Motif in the Ancient and Contemporary India.Marzenna Jakbczak - 2017 - In Retracing the Past: Historical Continuity in Aesthetics from a Global Perspective. Santa Cruz: International Association for Aesthetics. pp. 79-93.
    The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, religions and philosophy (...)
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  18. Effects of Musical Training and Culture on Meter Perception.Charles Yates, Timothy Justus, Nart Bedin Atalay, Nazike Mert & Sandra Trehub - 2017 - Psychology of Music 45 (2):231–245.
    Western music is characterized primarily by simple meters, but a number of other musical cultures, including Turkish, have both simple and complex meters. In Experiment 1, Turkish and American adults with and without musical training were asked to detect metrical changes in Turkish music with simple and complex meter. Musicians performed significantly better than nonmusicians, and performance was significantly better on simple meter than on complex meter, but Turkish listeners performed no differently than American listeners. In Experiment 2, members of (...)
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  19. Art's Visual Efficacy: The Case of Anthony Forge's Abelam Corpus.Jakub Stejskal - 2016/2017 - Res: Anthropology and Aesthetics 67:78-93.
    This paper addresses the question of whether a general method is capable of accommodating the vast array of contexts in which art objects are studied. I propose a framework for such a general method, which is, however, limited to a specific research task: reconstructing the circumstances under which a culturally and/or temporally distant or “exotic” art object becomes interesting (or menacing) to look at. The proposed framework is applied to evaluate Anthony Forge’s essays on the visual art of the Abelam. (...)
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  20. Teatro y Estética del Oprimido. Homenaje a Augusto Boal.José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.) - 2016 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Este libro inaugura la serie Homenaje de la Colección La Fuente. Con él se busca reconocer, de manera particular, al pensador, dramaturgo y director brasileño Augusto Boal (1931-2009), creador del teatro y la estética del oprimido, genuina aportación cultural latinoamericana que mucho tiene que ver con ese particular lugar de enunciación que es Nuestra América y sus siempre actuales expectativas emancipadoras. El libro fue precedido y nutrido por un Coloquio que en mayo de 2014 reunió a importantes especialistas y seguidores (...)
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  21. Art and Bewilderment.Jakub Stejskal - 2016 - British Journal of Aesthetics 56 (2):131-147.
    In this paper, I seek to defend the proposition that bewilderment can contribute to the interest we take in artworks. Taking inspiration from Alois Riegl’s underdeveloped explanation of why his contemporaries valued some historically distant artworks higher than recent art, I interpret the historical case of the European audiences’ fascination with the Fayum mummy portraits as involving such a bewilderment. I distinguish the claim about effective bewilderment from the thesis that aesthetic meaning resists discursive understanding and seek to establish that (...)
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  22. Introduction to the Issue: Psychophysical Integrity of the Human Self. Comparative Approach: Philosophy, Literature and Art.Marzenna Jakubczak - 2015 - Argument: Biannual Philosophical Journal 5 (1):5-8.
    The current issue of Argument: Biannual Philosophical Journal (2015, vol. 5, no. 1) provides a platform for cross‑cultural studies of the human body, the embodied mind, agency, intentionality, and various axiological aspects of the human psychophysical identity. Out of the twenty articles that compose this issue, thirteen original papers address the leading theme, namely Psychophysical integrity of the human self. Comparative approach: philosophy, literature and art. The multidisciplinary and comparative perspectives include references to Western and eastern cultural traditions, as well (...)
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  23. Aesthetics in the Age of Austerity: Building the Creative Class.Christine James - 2015 - In Anthology of Philosophical Studies 9. Athens Institute for Education and Research. pp. 37-48.
    Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative arts (...)
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  24. Issues of Contemporary Art and Aesthetics in Chinese Context.Eva Kit Wah Man - 2015 - Berlin: Springer Berlin Heidelberg.
    This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to (...)
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  25. Art-Matrix Theory and Cognitive Distance: Farago, Preziosi, and Gell on Art and Enchantment.Jakub Stejskal - 2015 - Journal of Art Historiography 13:1-18.
    Recent theories of art that subscribe to the view that art objects are agents enchanting their target audience, have tended to explain the operation of art objects as an agent–patient dynamic, a causal nexus of agency. They face a challenge, however, when they also aspire to embrace the idea – dominant in modernist and contemporary art theory – that the function of art is to unsettle its spectators’ habitual ways of perceiving and understanding, that is, to disenchant them: If artworks (...)
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  26. Beyond Art.Dominic Lopes - 2014 - Oxford University Press.
    This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.
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  27. Anclajes.Noemi de Haro García & María G. Navarro - 2013 - In Ayuntamiento de Valladolid.
    Pulcro, sobrio, comedido, preciso, cotidiano, manual, podrían ser calificativos (demasiado fácilmente) aplicables al trabajo de Amaya Bombín. Como si se tratara de la labor de una cirujana, de una bordadora, de una artesana, de un ama de casa. Si afirmáramos esto no solamente estaríamos recurriendo a tópicos sobradamente manidos cuando se trata de hablar de la obra de mujeres artistas, sino que además estaríamos desviando nuestra atención de lo que se nos ha dado a experimentar para reflexionar. [...].
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  28. Generativities: Western Philosophy, Chinese Painting, and the Yijing.Eric S. Nelson - 2013 - Orbis Idearum 1 (1):97–104.
    Western philosophy has been defined through the exclusion of non-Western forms of thought as non-philo-sophical. In this paper, I place the notion of what is “properly” philosophy into question by contrasting the essence/appearance paradigm governing Western metaphysics and its deconstructive critics with the more fluid, dynamic, and participatory forms of encountering and performatively enacting the world that are articulated in Chinese thinking and made apparent in Chinese painting. In this hermeneutical contrast, Western and Chinese thinking themselves are interpeted as co-relational (...)
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  29. Verantwortung - Vom Aufladen mit Bedeutung in Kunst und Sprache. Zu den Konsequenzen aus den kulturanthropologischen Ansätzen von Cassirer, Warburg und Böhme.Martina Sauer - 2013 - In Oxen Kathrin & Sagert Dietrich (eds.), Mitteilungen - zur Erneuerung evangelischer Predigtkultur, Leipzig 2013 (Kirche im Aufbruch ; 5). Leipzig, Germany: Evangelische Verlagsanstalt. pp. 15-33.
    So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...)
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  30. The Societal Dimension of Art: On Mara Raţiu’s Art as Social Activity. [REVIEW]Cristian Hainic - 2012 - Journal for Communication and Culture 2 (1):105-109.
    REVIEW OF Raţiu, Mara. Arta ca activitate socială: avatarurile discursului filosofic asupra artei contemporane (Art as Social Activity: The Avatars of Philosophical Discourse on Contemporary Art). Cluj-Napoca: Casa Cărţii de Ştiinţă, 2011.
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  31. The Aesthetization of Nature: How Buddhist is the Japanese Idea of 'Nature'?Marzenna Jakubczak - 2012 - In Krystyna Wilkoszews (ed.), Aesthetics and Cultures. Kraków, Poland: Universitas. pp. 131-142.
  32. Objects of Appropriation.Dominic McIver Lopes & Andrea Naomi Walsh - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
  33. Severing the Disjuncture Between Cultural Studies and Aesthetics: New Ways to Engage Aesthetics in the Study of Social Networking Sites.Hiesun Cecilia Suhr - 2009 - Rhizomes 19 (1).
  34. The Chinese Aesthetic Tradition.Li Zehou - 2009 - Honolulu: University of Hawai‘i Press.
    The Chinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the "art of living." Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives according to it, (...)
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  35. Japanese Gardens as Texts and Contexts.Mara Miller - 2008 - East-West Connections 7 (1):85-106.
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  36. Para un estudio del pensamiento estético mexicano del siglo XX. [REVIEW]José Ramón Fabelo Corzo - 2007 - Revista Casa de Las Américas 248:155-157.
    Reseña al libro de María Rosa Palazón Mayoral titulado "La estética en México. Siglo XX. Diálogo entre filósofos". El libro reseñado es de gran importancia al compilar las propuestas teóricas sobre el tema de pensadores tan destacados como Antonio Caso, José Vasconcelos, Alfonso Reyes, Samuel Ramos, Eduardo Nicol, María Zambrano, Ramón Xirau, Adolfo Sánchez Vázquez, Joaquín Sánchez Mcgrégor, Bolívar Echeverría, Néstor García Canclini, María Noël Lapoujade, Ana María Martínez de la Escalera, Silvia Durán Payán y muchos otros.
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  37. Review of Aesthetics and Rock Art. [REVIEW]Jennifer A. Mcmahon - 2006 - British Journal of Aesthetics 46 (2):208-210.
    The essays collected in this volume are written by scholars from a wide range of disciplines (anthropology, archaeology, art history, philosophy and psychology). The papers ostensibly address how to evaluate rock art, but can also be read in the context of offering support for the affirmative in the debate regarding whether aesthetics is a cross-cultural discipline. Two alternative conceptions of the aesthetic provide the underlying antithesis and thesis respectively to all papers. The antithesis holds that the aesthetic pertains to a (...)
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  38. Introduction to Special Issue of Literature and Aesthetics: Before Pangaea: New Essays in Transcultural Aesthetics.Eugenio Benitez - 2005 - Literature and Aesthetics 15 (1):7-11.
    Aesthetics presents a confusing domain for a philosopher. Its territory seems like an Empedoclean cosmos: a ceaselessly dynamic interchange of mixtures, at times resisting division, at times fracturing into an incomprehensible manifold. There may be no truth in aesthetics at all. Perhaps there is not even much truth about it. Some think of aesthetics primarily as a cultural or political phenomenon, others manage to reduce it to history (indeed, to a history that is over, and therefore safe). Still others investigate (...)
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  39. The Aesthetic Potential of the Element of Earth.Marzenna Jakubczak - 2002 - Analecta Husserliana:253-263.
  40. War, Occupation, and Creativity. [REVIEW]John Marmysz - 2002 - Consciousness, Literature and the Arts 3 (2).
    A review of War, Occupation, and Creativity: Japan and East Asia 1920-1960, edited by Marlene Mayo and Thomas Rimer, with H. Eleanor Kerkham.
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  41. Art and Intimacy.Ellen Dissanayake - 2000 - University of Washington Press.
    o Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In Art and Intimacy she argues for the joint evolutionary origin of art and intimacy, what we commonly call love. It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be lovable and to attune themselves (...)
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  42. Female Bodily Aesthetics, Politics, and Feminine Ideals of Beauty in China.Eva Kit Wah Man - 2000 - In Peg Zeglin Brand (ed.), Beauty matters. Indiana University Press. pp. 169-196.
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  43. Architektura stupy buddyjskiej jako przykład projektu sakralnego.Marzenna Jakubczak - 1999 - In Ewa Rewers (ed.), Przestrzeń, filozofia i architektura. Poznań, Poland: Wydawnictwo Fundacji Humaniora. pp. 251-268.
  44. Understanding Pictures.Dominic Lopes - 1999 - Philosophical Quarterly 49 (196):398-400.
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  45. Book Review: Mimesis: Culture, Art, Society. [REVIEW]Gene Fendt - 1997 - Philosophy and Literature 21 (1):199-201.
  46. Zhang Zeming's Foreign Moon.Raymond Aaron Younis - 1997 - Asian Studies Review 21 (2-3):277-280.
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  47. 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. フェノロサ美術論集.Ernest Fenollosa - 1988 - Tokyo:
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