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  1. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  2. The Modality of Artistic Objects.Stephanie Adair - 2017 - Axiomathes 27 (2):147-159.
    Nicolai Hartmann describes how artistic objects arise through the interplay between a material foreground and immaterial background. In this paper, I show how the layered structure also prevents the modal imbalance inherent in artistic objects from violating the intermodal laws of the real. The real law of intermodal implication specifies that real possibility cannot extend beyond real necessity. I begin by explicating the real intermodal laws and describing how they give the real sphere its characteristic narrowness and determinateness. Hartmann describes (...)
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  3. Artistic Judgment: A Framework for Philosophical Aesthetics.T. Adajian - 2011 - British Journal of Aesthetics 51 (4):453-456.
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  4. Analytic Aesthetics and the Dilemma of Timelessness.Derek Allan - manuscript
    The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at odds with our experience of the art of the past. Analytic aesthetics avoids this key problem because it confines its attention to issues such as the nature of aesthetic pleasure, whether the appreciation of art should be disinterested (...)
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  5. Analytic Aesthetics and the Dilemma of Timelessness.Derek Allan - manuscript
    Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.
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  6. Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.Derek Allan - manuscript
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
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  7. Vanquishing Temporal Distance: Malraux, Art and Metamorphosis.Derek Allan - 2016 - Australian Journal of French Studies 53 (1-2):136-148.
    How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...)
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  8. André Malraux.Derek Allan - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). pp. 239-243 (Vol 4).
    An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.
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  9. The Creative Process: An Aspect of André Malraux’s Theory of Art.Derek Allan - 2010 - Revue/Malraux/Review 37:66-84.
    Examines Malraux's account of the creative process in art, discusses a misreading of Malraux by Merleau-Ponty, and highlights shortcomings in certain "analytic aesthetics" accounts of the creative process.
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  10. An Intellectual Revolution: André Malraux and the Temporal Nature of Art.Derek Allan - 2009 - Journal of European Studies 39 (2):198-224.
    Very little has been written in recent decades about the temporal nature of art. The two principal explanations provided by our Western cultural tradition are that art is timeless (`eternal') or that it belongs within the world of historical change. Neither account offers a plausible explanation of the world of art as we know it today, which contains large numbers of works which are self-evidently not timeless because they have been resurrected after long periods of oblivion with significances quite different (...)
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  11. 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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  12. Art, Time and Metamorphosis.Derek Allan - 2007 - In Jan Lloyd Jones (ed.), Art and Time. Australian Scholarly Publishing. pp. 1.
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  13. Andre Malraux and the Modern, Transcultural Concept of Art.Derek Allan - 2005 - Literature & Aesthetics 15 (1):79-98.
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  14. André Malraux and the Challenge to Aesthetics.Derek Allan - 2003 - Journal of European Studies 33 (128): 23-40.
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  15. 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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  16. Art as Anti-Destiny: Foundations of André Malraux’s Theory of Art.Derek Allan - 2003 - Literature and Aesthetics 13 (2):7-16.
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  17. Review Of: "Strange Tools: Art and Human Nature" by Alva Noe. [REVIEW]Lauren R. Alpert - 2016 - Asage 8 (1):1-3.
    Strange Tools foregoes stolid conventions of professional philosophy, laudably broadening the book’s appeal to accommodate a popular audience. However, Noë’s manner of glossing over complex issues about art does not necessarily render these topics intelligible to philosophical novices. Instead, his oversimplifications will tend to confirm naïve notions that art is straightforward – a common misconception that a foray into philosophy of art ought to dispel, not corroborate.
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  18. The Bases of Artistic Creation.Maxwell Anderson, Rhys Carpenter & Roy Harris - 1943 - Journal of Aesthetics and Art Criticism 2 (8):105-105.
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  19. The Moral Purpose of Hogarth's Art.F. Antal - 1952 - Journal of the Warburg and Courtauld Institutes 15 (3/4):169-197.
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  20. The Completeness of Physical and Artistic Form.Rudolf Arnheim - 1994 - British Journal of Aesthetics 34 (2):109-113.
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  21. The Robin and the Saint: On the Twofold Nature of the Artistic Image.Rudolf Arnheim - 1959 - Journal of Aesthetics and Art Criticism 18 (1):68-79.
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  22. Artistic Symbols: Freudian and Otherwise.Rudolf Arnheim - 1953 - Journal of Aesthetics and Art Criticism 12 (1):93-97.
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  23. On Quality in Art.R. J. B. - 1968 - Review of Metaphysics 21 (3):560-561.
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  24. The Philosophy of Art. By Davies, Stephen.Sondra Bacharach - 2007 - Journal of Aesthetics and Art Criticism 65 (2):240–242.
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  25. An Urban Carnival on the City Walls: The Visual Representation of Financial Power in European Street Art.Andrea Baldini - 2015 - Journal of Visual Culture 14 (2):246-252.
    By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...)
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  26. Artistic Research.Annette Balkema & Henk Slager (eds.) - 2004 - Rodopi.
    Currently, advanced art education is in the process of developing research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into account that the (...)
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  27. The Morality of Artistic Production.Cyril Barrett - 1982 - Journal of Aesthetics and Art Criticism 41 (2):137-144.
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  28. The Rhetorical Hero. An Essay on the Aesthetics of André Malraux. By William Righter. (Routledge and Kegan Paul, 1964. Pp. Ix and 92.). [REVIEW]Cyril Barrett - 1966 - Philosophy 41 (156):185-.
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  29. The 'Fine Art' of Pornography?Christopher Bartel - 2010 - In Dave Monroe (ed.), Porn: Philosophy for Everyone. Wiley-Blackwell. pp. 153--65.
    Can pornographic depictions have artistic value? Much pornography closely resembles art, at least in many superficial respects. Films, photographs, paintings—all of these can have artistic value. Of course, films, photographs and paintings can also be pornographic. If some photographs have artistic value, and some photographs are pornographic, can pornographic photographs have artistic value too? I argue that pornography may only possess artistic value despite, not by virtue of, its pornographic content.
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  30. Art and Value. [REVIEW]Christopher Bartel - 2005 - British Journal of Aesthetics 45 (1):94-96.
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  31. Is Art Good for Us? Beliefs About High Culture in American Life.Christopher Bartel - 2004 - British Journal of Aesthetics 44 (1):93-96.
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  32. Encounters with an Art-Thing.Jane Bennett - 2015 - Evental Aesthetics 3 (3):91-110.
    What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...)
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  33. Absurd Creation: An Existentialist View of Art?Guy Bennett-Hunter - 2009 - Philosophical Frontiers 4 (1):49-58.
    What are we to make of works of art whose apparent point is to convince us of the meaninglessness and absurdity of human existence? I examine, in this paper, the attempt of Albert Camus to provide philosophical justification of art in the face of the supposed fact of absurdity and note its failure as such with specific reference to Sartre’s criticism. Despite other superficial similarities, I contrast Camus’s concept of the absurd with that of his ‘existentialist’ colleagues, including Sartre, and (...)
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  34. Arte como desrealización.Alessandro Bertinetto - 2006 - Daimon: Revista de Filosofia 39:175-185.
    The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...)
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  35. The Objectivity of Artistic Appreciation.David Best - 1980 - British Journal of Aesthetics 20 (2):115-127.
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  36. Trespassory Art.Randall P. Bezanson & Andrew Finkelman - unknown
    The history of art is replete with examples of artists who have broken from existing conventions and genres, redefining the meaning of art and its function in society. Our interest is in emerging forms of art that trespass – occupy space, place, and time as part of their aesthetic identity. These new forms of art, which we call trespassory art, are creatures of a movement that seeks to appropriate cultural norms and cultural signals, reinterpreting them to create new meaning. Marcel (...)
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  37. Cognitive and Aesthetic Values in Artistic Work and Scientific Work.Grzegorz Białkowski & Helena Białkowska - 1978 - Dialectics and Humanism 5 (2):39-52.
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  38. Artistic and Nonartistic Backgrounds as Determinants of the Cognitive Response to the Arts.Joseph Bilotta & Martin S. Lindauer - 1980 - Bulletin of the Psychonomic Society 15 (5):354-356.
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  39. Developmental Psychology and the Problem of Artistic Change.Marc H. Bornstein - 1984 - Journal of Aesthetics and Art Criticism 43 (2):131-145.
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  40. Wat vastgelegd is, misleidt ons: de Cahiers van Paul Valéry.Martijn Boven - 2008 - Deus Ex Machina 127:5-6.
    Paul Valéry is de dichter die zwijgt; de denker die weigert filosoof te zijn; de schrijver die de taal in staat van beschuldiging stelt; de expert die volhoudt een amateur te zijn; de mysticus die zijn heil zoekt bij de wiskunde; de stamelaar die aan een kwaal van precisie lijdt; de Narcissus die misschien toch liever Orpheus had willen zijn. Hij is de chroniqueur van het denken en de meester van de tegenspraak. Ik probeer me hem voor te stellen. Het (...)
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  41. From the Work of Art to Absolute Reason.Antoon Braeckman - 2004 - Review of Metaphysics 57 (3):551 - 569.
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  42. On Susan Wolf’s “Good-for-Nothings".Ben Bramble - 2015 - Ethical Theory and Moral Practice 18 (5):1071-1081.
    According to welfarism about value, something is good simpliciter just in case it is good for some being or beings. In her recent Presidential Address to the American Philosophical Association, “Good-For-Nothings”, Susan Wolf argues against welfarism by appeal to great works of art, literature, music, and philosophy. Wolf provides three main arguments against this view, which I call The Superfluity Argument, The Explanation of Benefit Argument, and The Welfarist’s Mistake. In this paper, I reconstruct these arguments and explain where, in (...)
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  43. Pictorial Art and Epistemic Aims.Jochen Briesen - 2014 - In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Press. pp. 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...)
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  44. Art, Oppression, and the Autonomy of Aesthetics.Curtis Brown - 2002 - In Alex Neill & Aaron Ridley (eds.), Arguing About Art, Second Edition. Routledge.
    Mary Devereaux has suggested, in an overview of feminist aesthetics[1], that feminist aesthetics constitutes a revolutionary approach to the field: "aesthetics cannot simply 'add on' feminist theories as it might add new works by [ Nelson ] Goodman, Arthur Danto or George Dickie. To take feminism seriously involves rethinking our basic concepts and recasting the history of the discipline." In particular, feminist theory involves a rejection of "deeply entrenched assumptions about the universal value of art and aesthetic experience." Overthrowing these (...)
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  45. For Artistic Reasons.John Bruce - 1967 - Journal of Aesthetics and Art Criticism 25 (3):255-258.
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  46. Artistic Merit.Malcolm Budd - 2014 - Journal of Aesthetic Education 48 (1):10-24.
    If you are interested in art, you engage in artistic evaluation, thinking of one work as being better than another; one artist as being better than another; some works and some artists as being great, mediocre, or poor; and, perhaps, thinking of some forms or genres of art as being superior to others in that works within the favored form or genre have achieved or can aspire to a higher artistic value than is possible for those less favored. The greatest (...)
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  47. Morality, Society, and the Love of Art.Malcolm Budd - 2014 - Estetika: The Central European Journal of Aesthetics 51 (2):170-207.
    The principal focus of the essay is the idea of artistic value, understood as the value of a work of art as the work of art it is, and the essay explores the connections, if any, between artistic value and a variety of other values in human life. I start with a series of observations about social values and then turn to moral values. Beginning from Goethe’s claim that ‘music cannot affect morality, nor can the other arts, and it would (...)
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  48. Artistic Value.Malcolm Budd - 2004 - In Peter Lamarque & Stein Haugom Olsen (eds.), Aesthetics and the Philosophy of Art: The Analytic Tradition: An Anthology. Blackwell. pp. 262--273.
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  49. The Artistic Patronage of Justin II.Averil Cameron - 1980 - Byzantion 50:62-84.
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  50. The Aesthetic-Artistic Domain, Criticism, and Teaching.John H. Chambers - 1989 - Journal of Aesthetic Education 23 (3):5-18.
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