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Art and the Aesthetic: An Institutional Analysis

Cornell University Press (1974)

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  1. Activating Aesthetics: Working with Heidegger and Bourdieu for Engaged Pedagogy.Elizabeth Grierson - 2015 - Educational Philosophy and Theory 47 (6):546-562.
    This article seeks to investigate art in public urban space via a process of activating aesthetics as a way of enhancing pedagogies of engagement. It does this firstly by addressing the question of aesthetics in Enlightenment and twentieth-century frames; then it seeks to understand how artworks may be approached ontologically and epistemologically. The discussion works with the philosophical lenses of two different thinkers: Heidegger, in ‘Building Dwelling Thinking’ and ‘The Origin of the Work of Art’, and Marxist sociologist, Bourdieu with (...)
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  • The Institutional Theory of Art: A Survey.David Graves - 1997 - Philosophia 25 (1-4):51-67.
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  • Literary Fictions as Utterances and Artworks.Jukka Mikkonen - 2010 - Theoria 76 (1):68-80.
    During the last decades, there has been a debate on the question whether literary works are utterances, or have utterance meaning, and whether it is reasonable to approach them as such. Proponents of the utterance model in literary interpretation, whom I will refer to as ‘utterance theorists,’ such as Noël Carroll and especially Robert Stecker, suggest that because of their nature as linguistic products of intentional human action, literary works are utterances similar to those used in everyday discourse. Conversely, those (...)
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  • Art and Ethical Criticism: An Overview of Recent Directions of Research.Noël Carroll - 2000 - Ethics 110 (2):350-387.
  • Martin in the Field.Lev Kreft - 2008 - Sport, Ethics and Philosophy 2 (1):71 – 83.
    Martin Strel, a Slovenian hero, swam all 3004 km of Danube in 200, and Mississippi in 2002, to become one of nominees for the sportsperson of the year award. Surprisingly, an orchestrated attack on his status as a sportsperson and on status of his achievements as sport records followed successfully. Martin did not get the award. He continued with his activities, swimming Parana, Jang Tse, and Amazonas lately, but was never mentioned in sport context again. This case is examined to (...)
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  • The Philosophy of Comics.Aaron Meskin - 2011 - Philosophy Compass 6 (12):854-864.
    Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...)
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  • Searching for the 'Popular' and the 'Art' of Popular Art.Theodore Gracyk - 2007 - Philosophy Compass 2 (3):380–395.
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  • The Necessity of Art, Ernst Fischer, with an Introduction by John Berger, London: Verso, 2010.Jeffrey Petts - 2012 - Historical Materialism 20 (2):195-209.
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  • Art, the Brain, and Family Resemblances: Some Considerations on Neuroaesthetics.Marcello Frixione - 2011 - Philosophical Psychology 24 (5):699 - 715.
    The project of neuroaesthetics could be interpreted as an attempt to identify a ?neural essence? of art, i.e., a set of necessary and sufficient conditions formulated in the language of neuroscience, which define the concept art . Some proposals developed within this field can be read in this way. I shall argue that such attempts do not succeed in individuating a neural definition of art. Of course, the fact that the proposals available for defining art in neural terms do not (...)
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  • Watching Sport: Aesthetics, Ethics and Emotion.Steffen Borge - 2012 - Sport, Ethics and Philosophy 6 (3):401-406.
    Sport, Ethics and Philosophy, Volume 6, Issue 3, Page 401-406, August 2012.
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  • 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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  • Coevolutionary Aesthetics in Human and Biotic Artworlds.Richard O. Prum - 2013 - Biology and Philosophy 28 (5):811-832.
    This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any (...)
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