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  1. Kant's Musical Antiformalism.James O. Young - 2020 - Journal of Aesthetics and Art Criticism 78 (2):171-182.
  • Perfection and Fiction : A Study in Iris Murdoch's Moral Philosophy.Frits Gåvertsson - 2018 - Dissertation, Lund University
    This thesis comprises a study of the ethical thought of Iris Murdoch with special emphasis, as evidenced by the title, on how morality is intimately connected to self-improvement aiming at perfection and how the study of fiction has an important role to play in our strive towards bettering ourselves within the framework set by Murdoch’s moral philosophy.
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  • Contemporary Kitsch: The Death of Pseudo-Art and the Birth of Everyday Cheesiness (A Postcolonial Inquiry).Max Ryynänen - 2018 - Terra Aestheticae: Journal of Russian Society for Aesthetics 1 (1):70-86.
    The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...)
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  • Poetic Opacity: How to Paint Things with Words.Jesse J. Prinz & Eric Mandelbaum - 2015 - In John Gibson (ed.), The Philosophy of Poetry. Oxford University Press. pp. 63-87.
  • The Spectator and Everyday Aesthetics.Brian Michael Norton - 2015 - Lumen: Selected Proceedings From the Canadian Society for Eighteenth-Century Studies 34:123.
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  • Educating the Design Stance: Issues of Coherence and Transgression. Commentary on Bullot & Reber.Norman H. Freeman & Melissa L. Allen - forthcoming - Behavioral and Brain Sciences.
  • Attempting Art: An Essay on Intention-Dependence.Michel-Antoine Xhignesse - 2017 - Dissertation, McGill University
    Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...)
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  • Art: A Brief History of Absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of (...)
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  • Beautiful Surfaces: Kant on Free and Adherent Beauty in Nature and Art.Alexander Rueger - 2008 - British Journal for the History of Philosophy 16 (3):535 – 557.
  • Heidegger and the Romantics: The Literary Invention of Meaning.Pol Vandevelde - 2011 - Routledge.
    <P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...)
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  • Educating the Design Stance: Issues of Coherence and Transgression.Norman H. Freeman & Melissa L. Allen - 2013 - Behavioral and Brain Sciences 36 (2):141 - 142.
    Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.
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  • Getting the Game Right: Some Plain Words on The Identity and Invention of Science.Andrew Cunningham - 1988 - Studies in History and Philosophy of Science Part A 19 (3):365.
  • Japan's Bifurcated Modernity.Raja Adal - 2009 - Theory, Culture and Society 26 (2-3):233-247.
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  • Paris Visual Académie as First Prototype Profession.David Sciulli - 2007 - Theory, Culture and Society 24 (1):35-59.
    Visual academies were unique social formations in the ancien régime, so distinctive that they are best studied as prototype professions. Alone among academies, they were responsible for offering instruction. Alone among educational institutions, they linked liberal instruction to occupational practice. Alone among ‘learned’ occupations, they accommodated an irreducible manual component. The visual Académie in Paris in particular established literally the first ‘graduate school’ in any field of activity and admitted students on the basis of anonymously scored student competitions. Equivalent activities (...)
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  • Fechner Revisited: Towards an Inclusive Approach to Aesthetics.W. Tecumseh Fitch & Gesche Westphal-Fitch - 2013 - Behavioral and Brain Sciences 36 (2):140-141.
    Accepting Bullot & Reber's (B&R's) criteria for art appreciation would confine the study of aesthetics to those works for which historical information is available, mainly posthigh art.correct” artistic understanding is limited to experts with detailed knowledge or education in art, which implies a narrowly elitist conception of aesthetics. Scientific aesthetics must be broadly inclusive.
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  • On Artifacts and Works of Art.Risto Hilpinen - 1992 - Theoria 58 (1):58-82.
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  • Ludovico Dolce e la nascita della critica d’arte.Marco Sgarbi - 2015 - Rivista di Estetica 59:163-182.
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  • Artisans, Artists and Hegel's History of Art.Allen Speight - 2013 - Hegel Bulletin 34 (2):203-222.
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  • Kant on Fine Art, Genius and the Threat of Private Meaning.Aviv Reiter - 2018 - Kantian Review 23 (2):307-323.