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  1. On the Prototype Theory of Concepts and the Definition of Art.Thomas Adajian - 2005 - Journal of Aesthetics and Art Criticism 63 (3):231–236.
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  2. On the Cluster Account of Art.Thomas Adajian - 2003 - British Journal of Aesthetics 43 (4):379-385.
    The cluster account of art is a purportedly non-definitional account of art, inspired by Wittgenstein's notion of family resemblance, and recently defended by Berys Gaut. Gaut does not provide good reasons to think that art is not definable, and his approach to possible counterexamples to the cluster account would, applied consistently, preclude this. The cluster account's theory of error, its resources for accounting for borderline cases, and its heuristic usefulness are not impressive. Reasons strong enough to warrant accepting the cluster (...)
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  3. Analytic Aesthetics and Anti-Essentialism: A Reply to Richard Shusterman.Lars-Olof Åhlberg - 1995 - British Journal of Aesthetics 35 (4):387-389.
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  4. The Intentional-Attributive Definition of Art.Alex Aliyev - 2009 - Consciousness, Literature and the Arts 10 (2).
    In this paper the author reviews the most debated theories of art in contemporary aesthetics and offers a new, intentional-attributive definition of art. He begins by expanding on Weitz’s theory, after which he presents arguments that refute Weitz's claim that it is logically impossible to define art. The author then examines the institutional, the historical, and the aesthetic definitions of art and shows that all of these have weaknesses and none stands up completely to criticism. Taking into consideration the shortcomings (...)
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  5. The Death of Beauty: Goya's Etchings and Black Paintings Through the Eyes of André Malraux.Derek Allan - 2016 - History of European Ideas.
    Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a significance of a much deeper kind. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist (...)
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  6. Art and the Human Adventure: André Malraux's Theory of Art.Derek Allan - 2009 - Rodopi.
    " Suitable for both newcomers to Malraux and more advanced students, the study also examines critical responses to these works by figures such as Maurice ...
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  7. Art as Anti-Destiny: Foundations of Andre Malraux's THeory of Art.Derek Allan - 2003 - Literature & Aesthetics 13 (2):7-16.
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  8. André Malraux and the Challenge to Aesthetics.Derek Allan - 2003 - Journal of European Studies 33 (128): 23-40.
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  9. Restitutionen. Wiedergaben des 'Ursprungs des Kunstwerks' in der französischen Philosophie.Emmanuel Alloa - 2011 - In David Espinet & Tobias Keiling (eds.), Heideggers 'Ursprung des Kunstwerks'. Klostermann. pp. 261-276.
  10. Art for Art's Sake Again?Meter Amevans - 1975 - Journal of Aesthetics and Art Criticism 33 (3):303-307.
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  11. Is It Art?Meter Amevans - 1971 - Journal of Aesthetics and Art Criticism 30 (1):39-48.
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  12. Concepts of Pornography: Aesthetics, Feminism, and Methodology.Kania Andrew - 2012 - In Jerrold Levinson & Hans Maes (eds.), Art and pornography: Philosophical essays. New York, USA: Oxford University Press. pp. 254-276.
    I discuss a recent notable attempt to sharply distinguish pornography from erotic art, and argue that the attempt fails. I then turn to methodological questions about how we ought to go about defining ‘pornography’, questions which lead quickly to others about why we want such a definition. I believe that philosophers of art can make important contributions to this definitional project, but only if their contributions are informed by recent work in feminism, philosophical analysis, and art history.
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  13. The Philosophy of Art. By Davies, Stephen.Sondra Bacharach - 2007 - Journal of Aesthetics and Art Criticism 65 (2):240–242.
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  14. Can Art Really End?Sondra Bacharach - 2002 - Journal of Aesthetics and Art Criticism 60 (1):57–66.
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  15. A Reply to Mischel's "Collingwood on Art as 'Imaginative Expression'".John A. Bailey - 1963 - Australasian Journal of Philosophy 41 (3):372 – 378.
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  16. Street Art: A Reply to Riggle.Andrea Baldini - 2016 - Journal of Aesthetics and Art Criticism 74 (2):187-191.
    In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...)
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  17. “This is Not Art” — Should We Go Revisionist About Works of Art?Tibor Bárány - 2013 - Proceedings of the European Society for Aesthetics 5:86-99.
    To propose a revisionist ontology of art one has to hold that our everyday intuitions about the identity and persistence conditions of various kinds of artworks can be massively mistaken. In my presentation I defend this view: our everyday intuitions about the nature of art can be (and sometimes are) mistaken. First I reconstruct an influential argument of Amie L. Thomasson (2004; 2005; 2006; 2007a; 2007b) against the fallibility of our intuitive judgments about the identity and persistence conditions of various (...)
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  18. Theories of Art.Moshe Barasch - 1985 - Routledge.
    In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship between scientific (...)
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  19. Art and Value. [REVIEW]Christopher Bartel - 2005 - British Journal of Aesthetics 45 (1):94-96.
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  20. Appreciation and Dickie's Definition of Art.Timothy W. Bartel - 1979 - British Journal of Aesthetics 19 (1):44-52.
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  21. Kunst und Kunstbegriff: Der Streit um die Grundlagen der Ästhetik.Roland Bluhm & Reinold Schmücker (eds.) - 2002 - mentis.
    Lässt sich Kunst definieren? Von vielen analytischen Kunstphilosophen wird das bezweifelt. Für sie ist der Kunstbegriff ein “offener Begriff”, der auf unterschiedlichste Phänomene angewandt werden kann, selbst wenn diese keine gemeinsame Eigenschaft miteinander verbindet. Wer danach fragt, was Kunst denn eigentlich sei, verkennt in ihren Augen das Wesen des Kunstbegriffs. Träfe diese Auffassung zu, wären philosophische Theorien über das Wesen der Kunst bloße Spekulation. Der Streit um den Kunstbegriff, der bis heute nicht beigelegt ist, ist deshalb ein Streit um die (...)
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  22. Gilson, l'oeuvre d'art et le roman.Guy Bouchard - 1982 - Philosophiques 9 (2):195-221.
    La philosophie de l'art d'Étienne Gilson n'accorde aucune place au roman. Après avoir dégagé les raisons de ce rejet et en avoir dévoilé les présupposés, nous montrons que le roman a droit de cité dans la sphère des arts majeurs, et ce même à partir des principes de la théorie de Gilson.Gilson's philosophy of art leaves no room to the novel. First, we elucidate his reasons to do so, then we disclose their presuppositions, and finally we show that the novel (...)
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  23. What Does It Mean to Know Art? : An Institutional Account.Ted Bracey - 2001 - In Paul Duncum & Ted Bracey (eds.), On Knowing: Art and Visual Culture. Canterbury University Press.
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  24. Triad. Method for Studying the Core of the Semiotic Parity of Language and Art.Vladimir Breskin - 2010 - Signs - International Journal of Semiotics 3 (2010):1-28.
    The purpose of this paper is to present and describe a new method for studying pre-speech language. The suggested approach allows correlate epistemology of linguistics to the ideological tradition of other scientific disciplines. Method is based on three linguistic categories – nouns, verbs, and interjections in their motor and expressive qualities – and their relation to the three basic forms of art – graphics (visual art), movement (dance), and sound (music). The study considers this correlation as caused by the nature (...)
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  25. Ernst H. Gombrich on Abstract Painting.Elisa Caldarola - 2015 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):77-86.
    Ernst H. Gombrich criticized abstract painting with several remarks scattered around his wide oeuvre. I argue that his view of abstract paintings is coherent with the account of pictorial representation he put forward in Art and Illusion, show some limits of such view, and maintain that, although several of Gombrich’s criticisms of abstract painting should be rejected, some of his remarks are insightful and worth of consideration.
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  26. Definitions of Art and Fine Art's Historical Origins.David Clowney - 2011 - Journal of Aesthetics and Art Criticism 69 (3):309-320.
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  27. Wann Ist Eine Definition von 'Kunst' Gut?Daniel Cohnitz - manuscript
    n diesem Kapitel soll das Problem ›Was genstand dieses Kapitels. Wir werden sehen, ist Kunst?‹, wie es sich für die analytische dass sich diese Adäquatheitsbedingungen aus Kunstphilosophie stellt, erläutert und eine Reiunserer Auffassung von analytischer Philosohe von »Adäquatheitsbedingungen« für seine phie heraus begründen lassen. Dieses zweite möglichen Lösungen formuliert werden. Adä- Kapitel bereitet also gewissermaßen den theoquatheitsbedingungen sind dabei Anforderunretischen Boden für die Folgekapitel. gen, die wir an eine potentielle Problemlösung Wie aus der Charakterisierung der analystellen und die eine Bewertung (...)
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  28. The Principles of Art.R. G. Collingwood - 1938 - New York: Oxford University Press.
    This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...
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  29. Inequalities and Fairness in Cluster Trials.Erin Conrad & Sarah Jl Edwards - 2011 - Research Ethics 7 (2):58-65.
    Cluster randomized controlled trials (cluster RCTs) randomize whole clusters of individuals in testing two or more competing interventions. Here we will present the ethical problems raised by cluster RCTs concerning their effect on inequality. We argue that some inequalities generated by cluster RCTs are larger in scope than those generated from individual RCTs. We also argue that any cluster RCT-generated inequalities, which divide groups rather than individuals, are more problematic in type than the inequalities created in individual RCTs. These concerns (...)
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  30. On Late Style: Arthur Danto’s the Abuse of Beauty.Diarmuid Costello - 2004 - British Journal of Aesthetics 44 (4):424-439.
    cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...)
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  31. Yellowism and Ontology: A Skeptical Analysis.Wesley D. Cray - 2015 - Contemporary Aesthetics 13.
    When Vladimir Umanets entered the Tate Modern on October 7, 2012 and defaced Rothko's Black on Maroon, he was operating, not as an artist or a vandal, but as a Yellowist. Yellowism is neither art nor anti-art but is instead a supposedly new cultural element that exists for its own sake and is about nothing but the color yellow. It might be tempting to write Yellowism and the Rothko defacement off as a mere prank or as pseudo-intellectual fraud, but I (...)
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  32. Defining Art, Creating the Canon: Artistic Value in an Era of Doubt.Paul Crowther - 2007 - Oxford University Press.
    Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...)
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  33. What Is Art? [REVIEW]J. B. D. - 1966 - Review of Metaphysics 19 (3):612-612.
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  34. Defining Art and Artworlds.Stephen Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (4):375-384.
    Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...)
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  35. The Cluster Theory of Art.Stephen Davies - 2004 - British Journal of Aesthetics 44 (3):297-300.
    Berys Gaut has recently defended a cluster account of art. He proposes it as superior to other anti-essentialist positions. I argue that his defence of this claim is unconvincing. Not only is the cluster theory consistent with the current crop of disjunctive definitions, it is at its most plausible when seen in such terms.
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  36. The Nature of Concepts and the Definition of Art.Jeffrey T. Dean - 2003 - Journal of Aesthetics and Art Criticism 61 (1):29–35.
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  37. Essentialism and the Definition of ‘Art’.T. J. Diffey - 1973 - British Journal of Aesthetics 13 (2):103-120.
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  38. In Support of Content Theories of Art.John Dilworth - 2007 - Australasian Journal of Philosophy 85 (1):19 – 39.
    A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...)
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  39. Artworks Versus Designs.John Dilworth - 2001 - British Journal of Aesthetics 41 (2):162-177.
    I propose a distinction between design intentions, activities and products, as opposed to artistic intentions, activities and artworks. Examples of design products would include a specific type of car (or any other invention or device) as well as closer relatives of art such as decorative wall designs. In order to distinguish artistic from design intentions, I present an example in which two sculptors independently work on a single object to produce two sculptures, which are distinct just because the artistic intentions (...)
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  40. The Croce-Collingwood Theory of Art.A. Donagan - 1958 - Philosophy 33 (125):162-167.
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  41. Must Aesthetic Definitions of Art Be Disjunctive?Jonathan Farrell - 2008 - American Society for Aesthetics Graduate E-Journal 1 (1):1-6.
    Aesthetic definitions of art face difficulties in dealing with art that is nonaesthetic. This has led some to suggest that if aesthetic theories of art are to apply to all art, then they must be disjunctive. In such a case, something would be art if and only if it either satisfied certain aesthetic criteria, or satisfied other, nonaesthetic, criteria.Nick Zangwill offers the Aesthetic Creation Theory. He considers ways that his theory could account for nonaesthetic art, and ultimately adopts a disjunctive (...)
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  42. The Others In/Of Aristotle's Poetics.Gene Fendt - 1997 - Journal of Philosophical Research 22:245-260.
    This paper aims at interpreting (primarily) the first six chapters of Aristotle’s Poetics in a way that dissolves many of the scholarly arguments conceming them. It shows that Aristotle frequently identifies the object of his inquiry by opposing it to what is other than it (in several different ways). As a result aporiai arise where there is only supposed to be illuminating exclusion of one sort or another. Two exemplary cases of this in chapters 1-6 are Aristotle’s account of mimesis (...)
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  43. Cose debitrici. Credenze, atmosfere, arte.Filippo Fimiani - 2011 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):137-174.
    What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...)
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  44. Editoriale–Etichettare/descrivere/mostrare.Filippo Fimiani & Pietro Kobau - 2011 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):2-7.
    “Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...)
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  45. The Cluster Account of Art: A Historical Dilemma.Simon Fokt - 2014 - Contemporary Aesthetics 12:N/A.
    The cluster account, one of the best attempts at art classification, is guilty of ahistoricism. While cluster theorists may be happy to limit themselves to accounting for what art is now rather than how the term was understood in the past, they cannot ignore the fact that people seem to apply different clusters when judging art from different times. This paper shows that while allowing for this kind of historical relativity may be necessary to save the account, doing so could (...)
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  46. Andina, Tiziana: The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories, 2013. [REVIEW]Simon Fokt - 2014 - British Journal of Aesthetics 54 (2):122-125.
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  47. Solving Wollheim's Dilemma: A Fix for the Institutional Definition of Art.Simon Fokt - 2013 - Metaphilosophy 44 (5):640-654.
    Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. An (...)
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  48. Pornographic Art - A Case From Definitions.Simon Fokt - 2012 - British Journal of Aesthetics 52 (3):287-300.
    On the whole, neither those who hold that pornography can never be art nor their opponents specify what they actually mean by ‘art’, even though it seems natural that their conclusions should vary depending on how the concept is understood. This paper offers a ‘definitional crossword’ and confronts some definitions of pornography with the currently most well-established definitions of art. My discussion shows that following any of the modern definitions entails that at least some pornography not only can be, but (...)
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  49. Blocker on the Definition of Primitive Art.Richard Garner - forthcoming - Journal of Aesthetic Education.
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  50. The Cluster Account of Art Defended.Berys Gaut - 2005 - British Journal of Aesthetics 45 (3):273-288.
    This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.
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