Results for 'Art and morals'

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  1. Negotiating Rapture the Power of Art to Transform Lives.Richard Francis, Homi K. Bhabha, Yve Alain Bois & Museum of Contemporary Art - 1996
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  2. Art, Morals, and Propaganda.Eliseo Vivas - 1935 - International Journal of Ethics 46 (1):82-95.
  3.  1
    Art, Morals, and Propaganda.Eliseo Vivas - 1935 - Ethics 46 (1):82.
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    Art, Morals, and the Teaching of Art.George Boas - 1968 - Journal of Aesthetic Education 2 (3):93.
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  5. Art, Morals, and Propaganda.Eliseo Vivas - 1935 - International Journal of Ethics 46 (1):82-95.
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  6. Art, Imagination, and the Cultivation of Morals.Matthew Kieran - 1996 - Journal of Aesthetics and Art Criticism 54 (4):337-351.
  7. The Genealogy of Morals and Right Reading: On the Nietzschean Aphorism and the Art of the Polemic.Babette Babich - manuscript
    In: Christa Davis Acampora, ed., Nietzsche’s On the Genealogy of Morals: Critical Essays. (Lanham, Md., Rowman & Littlefield, 2006), pp. 177-190.
     
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    Uniqueness in Art and Morals.T. E. Wilkerson - 1983 - Philosophy 58 (225):303 - 313.
    1. There is an important argument which can be traced back to Kant's second and third Critiques , and which has been defended by a number of distinguished modern philosophers.1 It goes as follows. Moral judgments are universalizable; that is, I am logically committed to making the same moral judgment about all relevantly similar cases. If I refuse to make the same moral judgment about two relevantly similar cases, then either I believe that they are relevantly different, or I have (...)
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  9. Morals, the Art of Symbolic Living.Radhakamal Mukerjee - 1950 - Journal of Philosophy 47 (16):453-465.
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    Aaron Garrett and James A. Harris , Scottish Philosophy in the Eighteenth Century: Morals, Politics, Art, Religion.Esther Engels Kroeker - 2016 - Journal of Scottish Philosophy 14 (2):218-224.
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    The Strumpet Muse: Art and Morals in Chaucer's PoetryAlfred David. Chickering - 1978 - Speculum 53 (3):565-567.
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  12. Scottish Philosophy in the Eighteenth Century: Volume I: Morals, Politics, Art, Religion.Aaron Garrett & James A. Harris (eds.) - 2015 - Oxford University Press.
    This new history of Scottish philosophy will include two volumes that focus on the Scottish Enlightenment. In this volume a team of leading experts explore the ideas, intellectual context, and influence of Hutcheson, Hume, Smith, Reid, and many other thinkers, frame old issues in fresh ways, and introduce new topics and questions into debates about the philosophy of this remarkable period. The contributors explore the distinctively Scottish context of this philosophical flourishing, and juxtapose the work of canonical philosophers with contemporaries (...)
     
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  13. Scottish Philosophy in the Eighteenth Century. Vol. 1: Morals, Politics, Art, Religion Ed. By Aaron Garrett, and James A. Harris. [REVIEW]Grote Simon - 2017 - Journal of the History of Philosophy 55 (2):357-358.
    Together with Scottish Philosophy in the Nineteenth and Twentieth Centuries, edited by Gordon Graham, this volume inaugurates the series A History of Scottish Philosophy, published by Oxford University Press under Graham's general editorship. A collection of "collaborative studies by expert authors," the series is projected to "provide a comprehensive account of the Scottish philosophical tradition". In their introduction to this particular volume, however, editors Aaron Garrett and James A. Harris propose a more modest purpose. "It will be plain to the (...)
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  14. Charles Eliot Norton on Art and Morals.Edward H. Madden & The Editors - 1957 - Journal of the History of Ideas 18 (3):430.
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    Totalitarianism and the Problem of Soviet Art Evaluation: The Lithuanian Case.Skaidra Trilupaityte - 2007 - Studies in East European Thought 59 (4):261-280.
    By taking into account dissident/political and art historical interpretations of Soviet art, I analyze how polemics about totalitarianism in the West, which generally corresponded with Cold War debates and Eastern European dissident thought, shaped the post-Soviet evaluations of national artistic legacies. It is argued that the political relationship with the totalitarian past, like in many post-socialist areas where the immediate past was subjected to radical re-evaluation, affected Lithuanian artists’ and critics’ attitude towards local Soviet art. Because of an obvious lack (...)
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  16. Art and the Intellect; Moral Values and the Experience of Art.Harold Taylor - 1961 - Journal of Aesthetics and Art Criticism 20 (2):215-215.
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    Morality and Art.Philippa Foot - 1970 - Proceedings of the British Academy 56 (131-144).
    Discusses the question of the objectivity or subjectivity of moral judgments, hoping to illuminate it by contrasting moral and aesthetic judgments. In her critical assessment of the nature of moral judgments, Foot concludes that some such judgments (as e.g. that Nazism was evil) are definitely objective. The concept of morality here supplies criteria independent of local standards, which function as fixed starting points in arguments across local boundaries, whereas, by contrast, aesthetic truths can ultimately depend on locally determined criteria. More (...)
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  18. Ethics in Modern Art.Marjorie Bowen - 1939 - Watts.
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  19. Morality and Art.Foot Philippa - 1970 - Oxford University Press.
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  20. Art Experience.Mysore Hiriyanna - 1954 - Manohar.
     
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  21. The Victorian Morality of Art an Analysis of Ruskin's Esthetic, by Henry Ladd.Henry Ladd - 1932 - R. Long & R.R. Smith.
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  22. Creative Stillness: Indian Perspectives on Art & Beauty.Vishwanath S. Naravane - 2000 - Distributors, Lokbharti.
     
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  23. Art and the Intellect.Harold Taylor - 1960 - New York: Published by the Museum of Modern Art;.
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    Aesthetics: An Introduction to the Philosophy of Art.Anne D. R. Sheppard - 1987 - Oxford University Press.
    Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives. Anne Sheppard divides her work into (...)
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    How Ancient is Art?Stephen Davies - 2015 - Evental Aesthetics 4 (2):22-45.
    In this paper I suggest that music and dance of an artful kind could pre-date the emergence of our species by several hundred thousand years. Our progenitor, H. heidelbergensis, had the necessary physiological resources and social capacities. And she inherited older modes of moving and vocalizing that could have laid the foundations for dance and music. Admittedly, for her, these artistic activities would have been more about sharing and expressing emotions than about symbolizing abstract ideas or conveying complex thoughts. But (...)
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  26.  31
    Messages in Art and Music: On Route to Understanding Musical Works with Jerrold Levinson.Malgorzata A. Szyszkowska - 2010 - Dialogue and Universalism 20 (3-4):97.
    In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in expression (...)
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    Spielraum, Phenomenology, and the Art of Virtue: Hints of an ‘Embodied’ Ethics in Kant.Donald A. Landes - 2016 - International Journal of Philosophical Studies 24 (2):234-251.
    Although the suggestion that Kant offers a significant contribution to Virtue Ethics might be a surprising one, in The Metaphysics of Morals Kant makes virtue central to his ethics. In this paper, I introduce a Merleau-Pontian phenomenological perspective into the ongoing study of the convergence between Kant and Virtue Ethics, and argue that such a perspective promises to illuminate the continuity of Kant’s thought through an emphasis on the implicit structure of moral experience, revealing the insights his perspective contains (...)
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    What Aphorism Does Nietzsche Explicate in Genealogy of Morals, Essay III?John T. Wilcox - 1997 - Journal of the History of Philosophy 35 (4):593-610.
    What Aphorism Does Nietzsche Explicate in Genealogy of Morals, Essay III ? JOHN T. WILCOX A picture held us captive. Wittgenstein ~ AS EVERYONE KNOWS, the dominant opinion is not always correct. Current scholarship, in all likelihood, makes assumptions which have not yet been questioned; and probably some of them will be seen to be false, once they have been examined. I will argue here that there is a dominant but erroneous assumption concerning the Third Essay in Nietzsche's On (...)
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    Deleuze, Ethics, Ethology, and Art.Anthony Uhlmann - 2011 - In Nathan Jun & Daniel W. Smith (eds.), Deleuze and Ethics. Edinburgh University Press. pp. 164.
    In What is Philosophy? Deleuze and Guattari muse on that time of life when a philosopher feels compelled to reflect upon the question of the nature of her or his practice. The desire for such reflection, they argue, comes with age. It involves self-reflection, something that concerns one's disposition, and one's place in the world. As such it is properly an ethical process. The idea of reflection, however, is also fundamental to both thought itself and to artistic practice, or the (...)
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    Contrary Feelings and Ticognitive Significance of Art.María José Alcaraz León - 2011 - Estetika 48 (1):62-80.
    Emotional response to artworks as a source of moral training or experimentation has long been disputed in the history of aesthetics. In this article I address the matter by focusing upon a kind of specimen that may by especially troublesome for an advocate of art’s capacity to educate our sentiments. The cases I focus upon – which I place under the label of the asymmetry problem – are those in which our emotional or evaluative response seems contrary to the one (...)
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    Guilt and Shame: Essays in French Literature, Thought and Visual Culture.Jenny Chamarette & Jennifer Higgins (eds.) - 2010 - Peter Lang.
    This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...
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    Aesthetics and Morals in the Philosophy of David Hume.Timothy M. Costelloe - 2007 - Routledge.
    The book has two aims. First, to examine the extent and significance of the connection between Hume's aesthetics and his moral philosophy; and, second, to consider how, in light of the connection, his moral philosophy answers central questions in ethics. The first aim is realized in chapters 1-4. Chapter 1 examines Hume's essay "Of the Standard of Taste" to understand his search for a "standard" and how this affects the scope of his aesthetics. Chapter 2 establishes that he treats beauty (...)
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  33.  12
    Can Virtue Make Us Happy?: The Art of Living and Morality.Otfried Höffe - 2010 - Northwestern University Press.
    Ethics plus theory of action -- Thinking the good through -- Fallacious conclusions -- Animal morabile -- Action -- The principle of happiness: eudaimonia -- The happiness of aspiration -- The art of living -- Four life goals -- Virtue -- Prudence, composure, selflessness -- Wisdom rather than calculation -- Does virtue make one happy? -- Euthanasia of morals? -- From an ethic of teleological aspiration to an ethic of the will -- The principle of freedom: autonomy -- Locating (...)
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  34. What is Art?Leo Tolstoy - 1996 - Barnes & Noble.
    Maude's excellent translation of Tolstoy's treatise on the emotionalist theory of art was the first unexpurgated version of the work to appear in any languages. More than ninety years later this work remains, as Vincent Tomas observed, one of the most rigorous attacks on formalism and on the doctrine of art for art's sake ever written. Tomas's Introduction makes this the edition of choice for students of aesthetics and anyone with philosophical interests.
     
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  35. Aesthetic Experience and the Ethical Dimension Essays on Moral Prblems in Aesthetics.Arto Haapala & Oiva Kuisma - 2003
     
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  36. Roger Fry and Other Essays.Howard Hannay - 1937 - G. Allen & Unwin.
     
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  37. El Gusto de la Razón: Debates de Arte y Moral En El Siglo Xviii Español.Ana Hontanilla - 2010 - Vervuert.
    Aproximación teórica al buen gusto y a los significados que este concepto adquiere en los tratados, más o menos teóricos, de autores españoles y de extranjeros traducidos al español a lo largo del siglo XVIII.
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  38. La Responsabilité de L'Artiste.Jacques Maritain & Georges Brazzola - 1961 - A. Fayard.
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  39. The Responsibility of the Artist.Jacques Maritain - 1960 - New York: Scribner.
     
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  40.  26
    Brain Intersections of Aesthetics and Morals Perspectives From Biology, Neuroscience, and Evolution.D. W. Zaidel & M. Nadal - 2011 - Perspectives in Biology and Medicine 54 (3):367-380.
    Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has been (...)
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    Aesthetics and Morals in the Philosophy of David Hume.Christopher Williams - 2010 - Hume Studies 36 (1):109-113.
    In the opening chapter of this book, Timothy Costelloe develops an interpretation of Hume's doctrines in "Of the Standard of Taste" and then proceeds, in the second chapter, by extending that interpretation to Hume's moral philosophy. According to Costelloe, the "real value" of his attempt to clarify Hume's essay is to be found in the broader application. But since that value will not be real unless the interpretation of the essay has merit, the first chapter is clearly vital to the (...)
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    Aesthetics and Morals in the Philosophy of David Hume by Costelloe, Timothy. [REVIEW]James Shelley - 2010 - Journal of Aesthetics and Art Criticism 68 (4):411-413.
  43.  6
    Morals and Law.Max Hamburger - 1965 - New York: Biblo & Tannen.
    Consequently, as shown above, Celsus, the Roman lawyer, defined law as the art of equity, and the classical Roman lawyers displayed the spirit of the right ...
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  44. Аксиодуховная составляющая в становлении и гармонизации социо-культурного бытия человека.Р. И Олексенко, В. В Молодыченко & Г. Г Таранекно - 2016 - Гуманітарний Вісник Запорізької Державної Інженерної Академії 65:27-40.
    The article deals with the culture as a complex of values, characteristics, norms, knowledge and things. The attention is drawn to the fact that the atmosphere of cultural genesis and human being’s openness is provided by the values and cultural norms, art, morals, and spiritual sphere achievements. The article analyzes the myth as the basis of the culture and world perception, as a unity of various phenomena and processes diversity. The author proves the idea that different types of the (...)
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    The Art Instinct: Beauty, Pleasure, & Human Evolution.Denis Dutton - 2009 - Bloomsbury Press.
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
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  46. A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  47. The Wheel of Virtue: Art, Literature, and Moral Knowledge.Noël Carroll - 2002 - Journal of Aesthetics and Art Criticism 60 (1):3–26.
    In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.
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  48. Art and Intention: A Philosophical Study.Paisley Livingston - 2005 - Oxford University Press.
    In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...)
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    Pornography, Art and Porno-Art.Mari Mikkola - 2013 - In Hans Maes (ed.), Pornographic Art and the Aesthetics of Pornography. Palgrave-Macmillan. pp. 27.
    Philosophers involved in the ‘porn-or-art’ debates standardly assume that pornography is centrally about sexual arousal, while art is about something else. I argue against this assumption and for the view that there is no single thing that pornography (or art) ‘is about’. This suggests that there is no prima facie reason for claiming that some x cannot be both pornography and art. I further go on to develop an understanding of (what I call) ‘porno-art’ - a wholly new kind of (...)
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  50. Street Art: The Transfiguration of the Commonplaces.Nick Riggle - 2010 - Journal of Aesthetics and Art Criticism 68 (3):243-257.
    According to Arthur Danto, post-modern or post-historical art began when artists like Andy Warhol collapsed the Modern distinction between art and everyday life by bringing “the everyday” into the artworld. I begin by pointing out that there is another way to collapse this distinction: bring art out of the artworld and into everyday life. An especially effective way of doing this is to make street art, which, I argue, is art whose meaning depends on its use of the street. I (...)
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