Style

Edited by Robert R. Clewis (Gwynedd Mercy University, Ludwig Maximilians Universität, München)
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  1. added 2018-11-24
    “A Small, Shabby Crystal, yet a Crystal”: A Life of Music in Wittgenstein’s Denkbewegungen.Eran Guter - forthcoming - In B. Sieradzka-Baziur, I. Somavilla & C. Hamphries (eds.), Wittgenstein's Denkbewegungen. Diaries 1930-1932/1936-1937: Interdisciplinary Perspectives. Innsbruck, Austria: StudienVerlag.
    Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...)
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  2. added 2018-02-17
    The Art of Theater.James R. Hamilton - 2007 - Wiley-Blackwell.
    _The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.
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  3. added 2018-01-17
    The Philosophy of Style.Herbert Spencer - unknown
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  4. added 2018-01-17
    Satire, Analogy, and Moral Philosophy.Nicholas Diehl - 2013 - Journal of Aesthetics and Art Criticism 71 (4):311-321.
    This article addresses two puzzles, one about the nature of satire and its kinship with moral philosophy and the other about the possibility of practicing philosophy through works of art. While it has long been noted that moral satire and applied ethics share subject matter in common, there has been little attention to the prominence of argument by analogy in satire. This essay shows that satire has a kinship with moral philosophy close enough that it is possible to practice philosophy (...)
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  5. added 2018-01-17
    The Calligraphy of Medieval Music. [REVIEW]Inga Behrendt - 2012 - The Medieval Review 9.
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  6. added 2018-01-17
    The Origins of Medieval Architecture: Building in Europe, A.D. 600-900. [REVIEW]Judson Emerick - 2007 - The Medieval Review 4.
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  7. added 2018-01-17
    Toward a Philosophy of Style.Manfred Frank - 1992 - Common Knowledge 1 (1):54-77.
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  8. added 2018-01-17
    On the Concept of Style.Tadeusz Pawlowski - 1987 - Dialectics and Humanism 14 (2):57-65.
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  9. added 2018-01-17
    The Secret of Style.Anita Silvers - 1981 - Journal of Aesthetics and Art Criticism 39 (3):268-271.
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  10. added 2018-01-17
    The Style of Philosophy.Donald Henze - 1980 - The Monist 63 (4):417-424.
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  11. added 2018-01-17
    Philosophy and Style.Lawrence M. Hinman - 1980 - The Monist 63 (4):512-529.
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  12. added 2018-01-17
    Style and Philosophy.Charles Griswold - 1980 - The Monist 63 (4):530-546.
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  13. added 2018-01-17
    Style in Art.Lincoln Rothschild - 1960 - New York: T. Yoseloff.
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  14. added 2017-12-02
    Merleau-Ponty on Style as the Key to Perceptual Presence and Constancy.Samantha Matherne - 2017 - Journal of the History of Philosophy 55 (4):693-727.
    In recent discussions of two important issues in the philosophy of perception, viz. the problems of perceptual presence and perceptual constancy, Merleau-Ponty’s ideas have been garnering attention thanks to the work of Sean Kelly and Alva Noë. Although both Kelly’s normative approach and Noë’s enactive approach highlight important aspects of Merleau-Ponty’s view, I argue that neither does full justice to it because they overlook the central role that style plays in his solution to these problems. I show that a closer (...)
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  15. added 2016-12-08
    The Relationship Between Aesthetic Value and Cognitive Value.Antony Aumann - 2014 - Journal of Aesthetics and Art Criticism 72 (2):117-127.
    Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its claims, the strength of its arguments, and its (...)
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  16. added 2015-12-30
    Literary Style.Wolfgang Huemer - 2016 - In Noël Carroll & John Gibson (eds.), Routledge companion to philosophy of literature. Routledge.
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  17. added 2015-11-22
    The Concept of Style.Patricia M. Locke - 1988 - Review of Metaphysics 41 (3):627-628.
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  18. added 2015-10-29
    Back in Style: A New Interpretation of Danto's Style Matrix.Frank Boardman - 2015 - Journal of Aesthetics and Art Criticism 73 (4):441-448.
    A number of objections to the style matrix that Arthur Danto introduced in “The Artworld” seem to have quelled most discussion of it. So telling have these arguments been that Danto himself later recanted the idea entirely. This situation is somewhat unfortunate. It may be that Danto's own interpretation of the style matrix is not tenable, but I believe we can articulate an alternative reading of it that escapes the aforementioned objections. While the interpretation I suggest cannot provide all that (...)
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  19. added 2015-10-27
    Form und Erkenntnis: Wie Kunst und Literatur Wissen vermitteln.Wolfgang Huemer - 2007 - In Alex Burri & Wolfgang Huemer (eds.), Kunst denken. mentis. pp. 117-134.
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  20. added 2015-05-15
    The Analytical–Continental Divide: Styles of Dealing with Problems.Thomas J. Donahue & Paulina Ochoa Espejo - 2016 - European Journal of Political Theory 15 (2):138-154.
    What today divides analytical from Continental philosophy? This paper argues that the present divide is not what it once was. Today, the divide concerns the styles in which philosophers deal with intellectual problems: solving them, pressing them, resolving them, or dissolving them. Using ‘the boundary problem’, or ‘the democratic paradox’, as an example, we argue for two theses. First, the difference between most analytical and most Continental philosophers today is that Continental philosophers find intelligible two styles of dealing with problems (...)
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  21. added 2015-01-22
    The Science of Culture and the Phenomenology of Styles by Renato Barilli. [REVIEW]Emine Hande Tuna - 2014 - University of Toronto Quarterly 83 (2):469-470.
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  22. added 2014-12-22
    Lakonik und Suada in der Prosa Thomas Bernhards.Andreas Dorschel - 2007/08 - Thomas Bernhard Jahrbuch:215-233.
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  23. added 2014-03-28
    I More Than Others: Responses to Evil and Suffering.Eric R. Severson (ed.) - 2010 - Cambridge Scholars Press.
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  24. added 2014-03-26
    L'idée du Style Dans l'Historiographie Artistique: Variantes Nationales Et Transmissions.Sabine Frommel & Antonio Brucculeri (eds.) - 2012 - Campisano.
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  25. added 2014-03-17
    Stilʹ I Stilizat͡sii͡a V Filosofsko-Kulʹturologicheskom Kontekste: Monografii͡a.E. V. Dashkova - 2006 - I͡uzhno-Rossiĭskiĭ Gos. Universitet Ėkonomiki I Servisa.
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  26. added 2014-03-17
    In the Eyes of God: A Study on the Culture of Suffering.Fernando Escalante Gonzalbo - 2006 - University of Texas Press, Teresa Lozano Long Institute of Latin American Studies.
    "Every culture needs to appropriate the universal truth of human suffering," says Fernando Escalante, ". . . to give its own meaning to this suffering, so that human existence is bearable." Originally published in Spanish as La mirada de Dios: Estudios sobre la cultura del sufrimiento, this book is a remarkable study of the evolution of the culture of suffering and the different elements that constitute it, beginning with a reading of Rousseau and ending with the appearance of the Shoah (...)
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  27. added 2014-03-04
    Somatic Style.Richard Shusterman - 2011 - Journal of Aesthetics and Art Criticism 69 (2):147-159.
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  28. added 2013-03-31
    Kierkegaard, Paraphrase, and the Unity of Form and Content.Antony Aumann - 2013 - Philosophy Today 57 (4):376-387.
    On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by Lessing and (...)
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  29. added 2012-08-24
    Pretense and Display Theories of Theatrical Performance.James R. Hamilton - 2009 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu (4):632-654.
    A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.
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  30. added 2012-08-24
    Drama.James R. Hamilton - 2009 - In Higgins Davies (ed.), Blackwell Companion to Aesthetics.
    Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.
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  31. added 2011-09-23
    Emotion, Cognition, and the Value of Literature: The Case of Nietzsche's Genealogy. Aumann - 2014 - Journal of Nietzsche Studies 45 (2):182-195.
    Near the end of the Republic, Plato challenges defenders of poetry to explain how it “not only gives pleasure but is beneficial . . . to human life.”1 We sometimes hear a heightened version of this demand. Partisans not just of poetry but also of literature in general are asked to establish that the arts they celebrate possess a distinctive or unique value. In other words, they must show that poetry and literature are irreplaceable and that we would lose some (...)
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  32. added 2011-09-23
    Kierkegaard on Indirect Communication, the Crowd, and a Monstrous Illusion.Antony Aumann - 2010 - In Robert L. Perkins (ed.), International Kierkegaard Commentary: Point of View. Mercer University Press.
    Following the pattern set by the early German Romantics, Kierkegaard conveys many of his insights through literature rather than academic prose. What makes him a valuable member of this tradition is the theory he develops to support it, his so-called “theory of indirect communication.” The most exciting aspect of this theory concerns the alleged importance of indirect communication: Kierkegaard claims that there are some projects only it can accomplish. This paper provides a critical account of two arguments Kierkegaard offers in (...)
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  33. added 2011-09-23
    Kierkegaard on the Need for Indirect Communication.Antony Aumann - 2008 - Dissertation, Indiana University
    This dissertation concerns Kierkegaard’s theory of indirect communication. A central aspect of this theory is what I call the “indispensability thesis”: there are some projects only indirect communication can accomplish. The purpose of the dissertation is to disclose and assess the rationale behind the indispensability thesis. -/- A pair of questions guides the project. First, to what does ‘indirect communication’ refer? Two acceptable responses exist: (1) Kierkegaard’s version of Socrates’ midwifery method and (2) Kierkegaard’s use of artful literary devices. Second, (...)
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  34. added 2008-12-31
    Distant Suffering: Morality, Media, and Politics.Luc Boltanski - 1999 - Cambridge University Press.
    Distant Suffering examines the moral and political implications for a spectator of the distant suffering of others as presented through the media. What are the morally acceptable responses to the sight of suffering on television, for example, when the viewer cannot act directly to affect the circumstances in which the suffering takes place? Luc Boltanski argues that spectators can actively involve themselves and others by speaking about what they have seen and how they were affected by it. Developing ideas in (...)
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  35. added 2008-12-31
    The Question of Style in Philosophy and the Arts.van Eck Caroline, McAllister James & van de Vall Renée (eds.) - 1995 - Cambridge University Press.
    The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist alternative styles of enquiry among (...)
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  36. added 2008-12-31
    Victims and Values: A History and a Theory of Suffering.Joseph Anthony Amato - 1990 - Greenwood Press.
    This book conducts a timely inquiry into contemporary conscience and politics.
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  37. added 2008-12-31
    Retribution: Evil for Evil in Ethics, Law, and Literature.Marvin Henberg - 1990 - Temple University Press.
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  38. added 2008-12-31
    The Concept of Style.Berel Lang (ed.) - 1987 - Cornell University Press.
    ILLUSTRATIONS Chapter 2 1. Roy Lichtenstein, Little Big Painting 83 2. Luis Buriuel, Viridiana (Last Supper scene) 86 3. ...
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  39. added 2008-12-31
    The Concept of Style.Leonard B. Meyer & Berel Lang (eds.) - 1979 - University of Pennsylvania Press.
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