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  1. Living Metaphor.Clive Cazeaux - 2011 - Studi Filosofici 34 (1):291-308.
    The concept of ‘living metaphor’ receives a number of articulations within metaphor theory. A review of four key theories – Nietzsche, Ricoeur, Lakoff and Johnson, and Derrida – reveals a distinction between theories which identify a prior, speculative nature working on or with metaphor, and theories wherein metaphor is shown to be performatively always, already active in thought. The two cannot be left as alternatives because they exhibit opposing theses with regard to the ontology of metaphor, but neither can an (...)
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  2. Sensation as Participation in Visual Art.Clive Cazeaux - 2012 - Aesthetic Pathways 2 (2):2-30.
    Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...)
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  3.  60
    Metaphor and Continental Philosophy: From Kant to Derrida.Clive Cazeaux - 2007 - Routledge.
    Over the last few decades there has been a phenomenal growth of interest in metaphor as a device which extends or revises our perception of the world. Clive Cazeaux examines the relationship between metaphor, art and science, against the backdrop of modern European philosophy and, in particular, the work of Kant, Heidegger and Merleau-Ponty. He contextualizes recent theories of the cognitive potential of metaphor within modern European philosophy and explores the impact which the notion of cognitive metaphor has on key (...)
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  4.  59
    The Continental Aesthetics Reader.Clive Cazeaux (ed.) - 2000 - Routledge.
    _The Continental Aesthetics Reader_ brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition includes selections (...)
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  5. Synaesthesia and Epistemology in Abstract Painting.Clive Cazeaux - 1999 - British Journal of Aesthetics 39 (3):241-251.
  6.  22
    Metaphor and Heidegger's Kant.Clive Cazeaux - 1995 - Review of Metaphysics 49 (2):341 - 364.
  7. Kant and the Ends of Aesthetics. By Gary Banham. Basingstoke: Macmillan, 2000. ISBN 0-333-73222-7 . £42.50. [REVIEW]Clive Cazeaux - 2001 - Kantian Review 5:141-147.
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  8.  26
    Review: Banham, Kant and the Ends of Aesthetics. [REVIEW]Clive Cazeaux - 2001 - Kantian Review 5:141-147.
  9.  69
    From an Aesthetic Point of View: Philosophy, Art and the Senses.Clive Cazeaux - 2003 - British Journal of Aesthetics 43 (3):329-332.
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  10.  60
    Phenomenology and Radio Drama.Clive Cazeaux - 2005 - British Journal of Aesthetics 45 (2):157-174.
    Radio drama is often considered an incomplete or ‘blind’ artform because it creates worlds through sound alone. The charge of incompleteness, I suggest, rests upon the orthodox empiricist conception of sensation as the receipt of separate modalities of sensory impression. However, alternative theories of sensation are offered by phenomenology and—of particular importance to this study—the restructuring of cognition that takes place in these theories plays a central role in phenomenology's account of artistic expression. The significance of this phenomenological link between (...)
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  11.  35
    Kant and Metaphor in Contemporary Aesthetics.Clive Cazeaux - 2004 - Kantian Review 8:1-37.
    Trying to assess Kant's impact on contemporary aesthetics is by no means a straightforward task, for the simple reason that the subject is saturated with his influence. In all aspects of the theory and practice of art, it is possible to observe concepts and attitudes at work which are either a reflection of, or a response to, Kant's thinking. This might seem a rather overblown claim and a difficult one to substantiate but, without going into too much detail at this (...)
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  12.  11
    Epistemology and Sensation.Clive Cazeaux - unknown
    Sensation is recognized by epistemology as one of the sources of knowledge, alongside memory, testimony, reason, induction and introspection, but this has not always been the case. It is a defining feature of modern epistemology that the senses provide valuable information about the world that cannot be reached through reason alone. However, because the senses can have an intensity and uniqueness that is difficult to describe, it is sometimes not entirely clear what they offer as knowledge, or even whether epistemology (...)
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  13.  10
    Review: Ameriks & Naragon (Tr & Ed), Lectures on Metaphysics. [REVIEW]Clive Cazeaux - 1998 - Kantian Review 2:150-155.
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  14.  9
    Aesthetics After Metaphysics: From Mimesis to Metaphor.Clive Cazeaux - 2014 - British Journal of Aesthetics 54 (4):499-504.
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  15.  7
    Review: Ameriks & Naragon (Trans & Ed), Immanuel Kant, Lectures on Metaphysics. [REVIEW]Clive Cazeaux - 1998 - Kantian Review 2:150-155.
  16.  1
    Immanuel Kant, Lectures on Metaphysics. Translated and Edited by Karl Ameriks and Steve Naragon. Cambridge: Cambridge University Press, 1997. Pp. Xlviii, 642. ISBN 0-521-36012-9. £60.00, US$85.00. [REVIEW]Clive Cazeaux - 1998 - Kantian Review 2:150-155.
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  17.  4
    Book Reviews. [REVIEW]Clive Cazeaux - 1999 - British Journal of Aesthetics 39 (1):72-75.
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  18. Is There Truth in Art? [REVIEW]Clive Cazeaux - 1998 - Radical Philosophy 90.
  19. The Aesthetics of the Scientific Image.Clive Cazeaux - 2015 - Journal of Aesthetics and Phenomenology 2 (2):187-209.
    Images in science are often beautiful but their beauty cannot be explained using traditional aesthetic theories. Available theories either rely upon concepts antithetical to science, e.g. regularity as an index of God’s design, or they omit concepts intrinsic to scientific imaging, e.g. the image is taken as a representation of “beautiful nature.” I argue that the scientific image is not a representation but a construction: a series of mutually defining intra-actions, where “intra-action” signifies that the object depicted cannot be extricated (...)
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  20. Kant's Critique of Judgement.Ruth F. Chadwick & Clive Cazeaux (eds.) - 1992 - Routledge.
  21. Kant's Critique of Pure Reason.Ruth F. Chadwick & Clive Cazeaux (eds.) - 1992 - Routledge.