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  1.  9
    Rock as a Three-Value Tradition.Christopher Bartel - 2017 - Journal of Aesthetics and Art Criticism 75 (2):143-154.
    Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a diversity of goals (...)
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  2.  1
    CHAKRABARTI, ARINDAM, Ed. The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art. New York: Bloomsbury Academic, 2016, 417 Pp., 5 Color + 37 B&W Illus., $176.00 Cloth. [REVIEW]Nalini Bhushan - 2017 - Journal of Aesthetics and Art Criticism 75 (2):201-205.
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  3.  1
    Inviting a Scandalous Look: Detecting the Fabulous Fabula Promoted by the Twist Film.Cameron Ed - 2017 - Journal of Aesthetics and Art Criticism 75 (2):155-167.
    This article argues that the explicit narrative twist that constitutes the mode of narration of twist films opens the potential for an additional implied twist that emerges in the awoken interpretive process of the viewer. Relying on Roland Barthes's notion of the “writerly” mode of narrative, this article further argues that this mode of implied twist narration inadvertently rearranges the spectator relationship to story construction in potentially any film by bringing spectator desire into focus.
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  4. MARSHALL, CHRISTOPHER R. Baroque Naples and the Industry of Painting: The World in the Workbench. Yale University Press, 2016, 352 Pp., 88 Color + 115 B&W Illus., $75.00 Cloth NAPOLI, NICHOLAS J. The Ethics of Ornament in Early Modern Naples: Fashioning the Certosa di San Martino. Burlington, VT: Ashgate, 2015, 430 Pp., 36 Color + 64 B&W Illus., $120.00 Cloth. [REVIEW]David Carrier - 2017 - Journal of Aesthetics and Art Criticism 75 (2):208-210.
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  5.  5
    Descriptivism and Its Discontents.David Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (2):117-129.
    Is ontologizing about art rightly held accountable to artistic practice, and, if so, how? Julian Dodd argues against such accountability. His target is “local descriptivism,” a meta-ontological principle that he contrasts with meta-ontological realism. The local descriptivist thinks that folk-theoretic beliefs implicit in our practices somehow determine the ontological characters of artworks. I argue, however, that according a grounding role to artistic practice in the ontology of art does not conflict with meta-ontological realism. Practice must ground our ontological inquiries because (...)
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  6.  2
    Unruly Tones: A Reply to Ravasio.John Dyck - 2017 - Journal of Aesthetics and Art Criticism 75 (2):191-194.
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  7. SUKLA, ANANTA CH., Ed. Fiction and Art: Explorations in Contemporary Theory. New York: Bloomsbury Academic, 2015, 416 Pp., $39.95 Paper. [REVIEW]Bradley Elicker - 2017 - Journal of Aesthetics and Art Criticism 75 (2):217-220.
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  8.  2
    NANAY, BENCE. Aesthetics as Philosophy of Perception. Oxford University Press, 2016, 192 Pp., $65.00 Cloth. [REVIEW]John Andrew Fisher - 2017 - Journal of Aesthetics and Art Criticism 75 (2):210-214.
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  9. POLLOCK, SHELDON, Trans. And Ed. A Rasa Reader: Classical Indian Aesthetics. Columbia University Press, 2016, Xxiv + 442 Pp., $80.00 Cloth. [REVIEW]Mary Wiseman Goldstein - 2017 - Journal of Aesthetics and Art Criticism 75 (2):205-208.
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  10. The Puzzle of Factual Praise.John Holliday - 2017 - Journal of Aesthetics and Art Criticism 75 (2):169-179.
    It seems that we are not willing to give up the intuitions that works of fiction are free from the constraints of historical truth and historical inaccuracies sometimes count against the artistic value of works of fiction. Christopher Bartel calls this the puzzle of historical criticism. I argue that this puzzle extends beyond historical facts. While it is especially salient that historical accuracy at times appears relevant to the evaluation of fictional works, such relevance appears to be a feature of (...)
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  11.  2
    Analyzing Antiqueness: A Response to Curtis and Baines.Anton Killin - 2017 - Journal of Aesthetics and Art Criticism 75 (2):195-197.
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  12. GUYER, PAUL. A History of Modern Aesthetics, Volume 2: The Nineteenth Century. Cambridge University Press, 2014, Vii +478, $355.00 Cloth [for 3-Volume Set]. [REVIEW]J. Colin Mcquillan - 2017 - Journal of Aesthetics and Art Criticism 75 (2):199-201.
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  13.  2
    PARSONS, GLENN. The Philosophy of Design. Polity Press, 2016, 192 Pp., $22.95 Paper. [REVIEW]G. A. L. Michalle - 2017 - Journal of Aesthetics and Art Criticism 75 (2):214-217.
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  14.  5
    Video Games and Imaginative Identification.Patridge Stephanie - 2017 - Journal of Aesthetics and Art Criticism 75 (2):181-184.
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  15.  1
    Why B-Flat Is Not Natural: Reply to Dyck.Matteo Ravasio - 2017 - Journal of Aesthetics and Art Criticism 75 (2):187-191.
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  16.  7
    Still Self-Involved: A Reply to Patridge.Jon Robson & Aaron Meskin - 2017 - Journal of Aesthetics and Art Criticism 75 (2):184-187.
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  17.  7
    Psychologism and Completeness in the Arts.Rohrbaugh Guy - 2017 - Journal of Aesthetics and Art Criticism 75 (2):131-141.
    When is an artwork complete? Most hold that the correct answer to this question is psychological in nature. A work is said to be complete just in case the artist regards it as complete or is appropriately disposed to act as if he or she did. Even though this view seems strongly supported by metaphysical, epistemological, and normative considerations, this article argues that such psychologism about completeness is mistaken, fundamentally, because it cannot make sense of the artist's own perspective on (...)
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  18.  2
    Call for Papers The Good, the Beautiful, the Green: Environmentalism and Aesthetics.Sandra Shapshay & Levi Tenen - 2017 - Journal of Aesthetics and Art Criticism 75 (2):113-113.
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  19.  9
    GUYER, PAUL. A History of Modern Aesthetics, Volume I: The Eighteenth Century. Cambridge University Press, 2014, Xii + 578, $355.00 Cloth [for 3-Volume Set]. [REVIEW]Timothy M. Costelloe - 2017 - Journal of Aesthetics and Art Criticism 75 (1):81-84.
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  20.  9
    An Error Concerning Noses.Gregory Currie & Jerrold Levinson - 2017 - Journal of Aesthetics and Art Criticism 75 (1):9-13.
    We identify a strategy for getting beliefs from fiction via three assumptions: a certain causal generality holds in the fiction and does so because causal generalities in fiction are carried over from what the author takes to be fact; the author is reliable on this topic, so what the author takes to be fact is fact. We do not question. While will, in particular cases, be doubtful, the strategy is vulnerable more generally to the worry that what looks like a (...)
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  21.  1
    DORAN, ROBERT. The Theory of the Sublime From Longinus to Kant. Cambridge University Press, 2015, Xiii + 313 Pp., $99.99 Cloth. [REVIEW]Michael Funk Deckard - 2017 - Journal of Aesthetics and Art Criticism 75 (1):84-86.
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  22. KONSTAN, DAVID. Beauty: The Fortunes of an Ancient Greek Idea. Oxford University Press, 2015, X + 262 Pp., $29.95 Cloth. [REVIEW]Sarah R. Jansen - 2017 - Journal of Aesthetics and Art Criticism 75 (1):86-88.
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  23. WARTENBERG, THOMAS E. Mel Bochner: Illustrating Philosophy. South Hadley, MA: Mount Holyoke College Art Museum, 2015, 48 Pp., 30 Color Illus., $19.95 Cloth. [REVIEW]Graham Mcfee - 2017 - Journal of Aesthetics and Art Criticism 75 (1):94-96.
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  24.  5
    The Emergence of Sound Art: Opening the Cages of Sound.Carmen Pardo - 2017 - Journal of Aesthetics and Art Criticism 75 (1):35-48.
    This article discusses listening that is appropriate to sound art and the associated changes in the paradigms, or thought patterns, that occur so often when we move from visual to aural perception. The distinction between historically accepted and rejected sounds is used to show how putting sounds in cages has fashioned a form of listening and of life. Twentieth-century experimental music and, especially, the music and the reflections of John Cage have opened these cages of sound and at the same (...)
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  25. ALLEN, BARRY. Striking Beauty: A Philosophical Look at the Asian Martial Arts. Columbia University Press, 2015, Xiii + 253 Pp., $30.00 Cloth. [REVIEW]F. Pfister Lauren - 2017 - Journal of Aesthetics and Art Criticism 75 (1):100-102.
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  26.  4
    Coherence, Literary and Epistemic.Charles Repp - 2017 - Journal of Aesthetics and Art Criticism 75 (1):59-71.
    Coherence is a term of art in both epistemology and literary criticism, and in both contexts judgments of coherence carry evaluative significance. However, whereas the epistemic use of the term picks out a property of belief sets, the literary use can pick out properties of various elements of a literary work, including its plot, characters, and style. For this reason, some have claimed that literary critics are not concerned with the same concept of coherence as epistemologists. In this article I (...)
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  27.  6
    On the Divide: Analytic and Continental Philosophy of Music.Tiger Roholt - 2017 - Journal of Aesthetics and Art Criticism 75 (1):49-58.
    On offer here is a tradition-neutral way of understanding the distinction between analytic and continental philosophy of music. The distinction is drawn in terms of methodology, rather than content, by identifying contrasting methodological tendencies of each tradition—initial maneuvers that frame an investigation, which are related to one another insofar as they involve, or do not involve, two kinds of methodological detachment. These maneuvers are extracted through a consideration of contrasting pairs of examples. The pairs consist of an analytic and a (...)
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  28.  1
    ROELOFS,਀MONIQUE. The Cultural Promise of the Aesthetic. New York, NY: Bloomsbury Academic, 2015, 288 Pp., $34.95 Paper. [REVIEW]Michael Szekely - 2017 - Journal of Aesthetics and Art Criticism 75 (1):97-100.
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  29.  3
    What's My Motivation? Video Games and Interpretative Performance.Tavinor Grant - 2017 - Journal of Aesthetics and Art Criticism 75 (1):23-33.
    The interpretation of character motivations is a crucial part of the understanding of many narratives, including those found in video games. This interpretation can be complicated in video games by the player performing the role of a player-character within the game narrative. Such performance finds the player making choices for the character and also interpreting the resulting character actions and their effect on the game's narrative. This can lead to interpretative difficulties for game narratives and their players: if a decision (...)
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  30.  40
    Fictionality and Imagination, Revisited.Lee Walters - 2017 - Journal of Aesthetics and Art Criticism 75 (1):15-21.
    I present and discuss a counterexample to Kendall Walton's necessary condition for fictionality that arises from considering serial fictions. I argue that although Walton has not in fact provided a necessary condition for fictionality, a more complex version of Walton's condition is immune from the counterexample.
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  31. WIESING, LAMBERT. The Philosophy of Perception: Phenomenology and Image Theory. Trans. Nancy Ann Roth. New York: Bloomsbury Academic, 2014, Ix +166 Pp., $120.00 Cloth, $39.95 Paper. [REVIEW]Michael Watkins & Loxley Compton - 2017 - Journal of Aesthetics and Art Criticism 75 (1):88-90.
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  32.  1
    CAHAN, SUSAN E. Mounting Frustration: The Art Museum in the Age of Black Power. Duke University Press, 2016, 360 Pp., 20 Color + 93 B&W Illus., $34.95 Cloth. HEIN, HILDE. Museums and Public Art: A Feminist Vision. Cambridge, MA: Harvard Book Store, 2014, 250 Pp., $17.95 Paper. [REVIEW]Weiser Peg Brand - 2017 - Journal of Aesthetics and Art Criticism 75 (1):91-94.
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  33.  67
    Fiction Unlimited.Nathan Wildman & Christian Folde - 2017 - Journal of Aesthetics and Art Criticism 75 (1):73-80.
    We offer an original argument for the existence of universal fictions—that is, fictions within which every possible proposition is true. Specifically, we detail a trio of such fictions, along with an easy-to-follow recipe for generating more. After exploring several consequences and dismissing some objections, we conclude that fiction, unlike reality, is unlimited when it comes to truth.
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