86 found
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  1. 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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  2.  49
    The Art Instinct: Beauty, Pleasure, and Human Evolution.Denis Dutton - 2010 - Oxford University Press.
    The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.
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  3. Artistic Crimes: The Problem of Forgery in the Arts.Denis Dutton - 1979 - British Journal of Aesthetics 19 (4):302-314.
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  4.  86
    A Naturalist Definition of Art.Denis Dutton - 2006 - Journal of Aesthetics and Art Criticism 64 (3):367–377.
    Aesthetic theoriesmayclaim universality, but they are normally conditioned by the aesthetic issues and debates of their own times. Plato and Aristo- tle were motivated both to account for the Greek arts of their day and to connect aesthetics to their general metaphysics and theories of value. Closer to our time, asNo¨el Carroll observes, the theories of Clive Bell and R.G. Collingwood can be viewed as “defenses of emerging avant-garde practices— neoimpressionism, on the one hand, and the mod- ernist poetics of (...)
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  5. Artistic Crimes.Denis Dutton - manuscript
    The concept of forgery is a touchstone of criticism. If the existence of forgeries — and their occasional acceptance as authentic works of art — has been too often dismissed or ignored in the theory of criticism, it may be because of the forger’s special power to make the critic look ridiculous. Awkward as it is, critics have heaped the most lavish praise on art objects that have turned out to be forged. The suspicion this arouses is, of course, that (...)
     
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  6. Authenticity in Art.Denis Dutton - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 258--274.
     
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  7. Aesthetics and Evolutionary Psychology.Denis Dutton - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press.
  8.  35
    The Idea of Creativity.Karen Bardsley, Denis Dutton & Michael Krausz (eds.) - 2009 - Brill.
    Seventeen philosophical thinkers ask: What is creativity? What are the criteria of creativity? Should we assign logical priority to creative persons, processes, or products? How do various forms of creativity relate to different domains of human activity?
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  9.  43
    Tribal Art and Artifact.Denis Dutton - 1993 - Journal of Aesthetics and Art Criticism 51 (1):13-21.
    Europeans seeking to understand tribal arts face obvious problems of comprehending the histories, values, and ideas of vastly remote cultures. In this respect the issues faced in understanding tribal art (or folk art, primitive art, traditional art, third or fourth-world art — none of these designations is ideal) are not much different from those encountered in trying to comprehend the distant art of “our own” culture, for instance, the art of medieval Europe. But in the case of tribal or so-called (...)
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  10.  7
    A Naturalist Definition of Art.Denis Dutton - 2006 - Journal of Aesthetics and Art Criticism 64 (3):367-377.
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  11. Aesthetic Universals.Denis Dutton - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge. pp. 203--214.
  12.  90
    Kant and the Conditions of Artistic Beauty.Denis Dutton - 1994 - British Journal of Aesthetics 34 (3):226-239.
  13.  26
    To Understand It on its Own Terms.Denis Dutton - 1974 - Philosophy and Phenomenological Research 35 (2):246-256.
    We commonly hear it said that a work of art must be understood “on its own terms,” and that phrase is used in other contexts as well; people, especially people very different from ourselves, are said to have to be understood on their own terms. But what is the meaning of the expression “on its/their own terms?” Note that we do not say of every possible object of understanding that it must be understood on its own terms. The statement, “Chemistry (...)
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  14. Mythologies of Tribal Art.Denis Dutton - unknown
    Forty years ago Roland Barthes defined a mythology as those “falsely obvious” ideas which an age so takes for granted that it is unaware of its own belief. An illustration of what he meant can be seen in his 1957 critique of the photographic exhibition, The Family of Man . Barthes declares that the myth it promotes stresses exoticism, complacently projecting a Babel of human diversity over the globe. From this image of diversity a pluralistic humanism “is magically produced: man (...)
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  15. Art Hoaxes.Denis Dutton - unknown
    As much as many other human enterprises, the art world today is fuelled by pride, greed, and ambition. Artists and art dealers hope for recognition and wealth, while art collectors often acquire works less for their intrinsic aesthetic merit than for their investment potential. In such a climate of values and desires, it is not surprising that poseurs and frauds will flourish. For works of painting and sculpture are material objects that derive their often immense monetary value generally from two (...)
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  16.  43
    Plausibility and Aesthetic Interpretation.Denis Dutton - 1977 - Canadian Journal of Philosophy 7 (2):327 - 340.
    If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances (...)
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  17.  31
    Art and Sexual Selection.Denis Dutton - 2000 - Philosophy and Literature 24 (2):512-521.
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  18.  59
    The Pleasures of Fiction.Denis Dutton - 2004 - Philosophy and Literature 28 (2):453-466.
  19. Truth Matters: 20th Anniversary Editorial.Denis Dutton & Patrick Henry - unknown
    Once in a while stunning new ideas that energize a scholarly discipline — or even wreck it altogether — come from the outside. The most influential philosopher of science in the last generation was not a philosopher at all, but an historian and physicist, Thomas Kuhn. Ernst Gombrich, an art historian, has deeply informed the philosophy of art, as the linguist Noam Chomsky has affected the philosophy of language. And Jacques Derrida continues to cast his stupefying spell over many a (...)
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  20.  60
    Criticism and Method.Denis Dutton - 1973 - British Journal of Aesthetics 13 (3):232-242.
    The charge that a particular critical remark is “irrelevant” to its object is one of the most frequently heard in discussion and debate among critics. Frequently heard because frequently true: there has never been a shortage of criticism which aimlessly relates the work to the artist’s biography, or invokes inappropriate artistic standards, or employs pointless historical speculation, or describes the critic’s own foggy reveries to misdirect our attention and obscure the essential significance of the object before us. But even if (...)
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  21. The Forger's Art Forgery and the Philosophy of Art.Denis Dutton - 1983 - University of California Press, C1983.
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  22.  31
    What is Genius?Denis Dutton - 2001 - Philosophy and Literature 25 (1):181-196.
  23.  24
    Editorial: Truth Matters.Henry Patrick Gerard & Dutton Denis - 1996 - Philosophy and Literature 20 (2):299-304.
  24.  8
    Editorial: Truth Matters.Denis Dutton & Patrick Patrick Gerard Henry - 1996 - Philosophy and Literature 20 (2):299-304.
  25. Why Intentionalism Won't Go Away.Anthony J. Cascardi & Denis Dutton - unknown
    Considering the philosophic intelligence that has set out to discredit it, intentionalism in critical interpretation has shown an uncanny resilience. Beginning perhaps most explicitly with the New Criticism, continuing through the analytic tradition in philosophy, and culminating most recently in deconstructionism, philosophers and literary theorists have kept under sustained attack the notion that authorial intention can provide a guide to interpretation, a criterion of textual meaning, or a standard for the validation of criticism. Yet intentionalist criticism still has avid theoretical (...)
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  26.  12
    Book Reviews : Explorations in Language and Meaning: Towards a Semantic Anthropology. By Malcolm Crick. New York: Halsted Press (John Wiley & Sons), 1976. Pp. VII + 212. $15.75. [REVIEW]Denis Dutton - 1980 - Philosophy of the Social Sciences 10 (2):229-232.
  27.  16
    Astrology, Computers, and the Volksgeist.Denis Dutton - 1995 - Philosophy and Literature 19 (2):424-434.
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  28.  25
    A Hanging Judge.Denis Dutton - 2002 - Philosophy and Literature 26 (1):224-238.
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  29.  15
    Art of the Piano.Denis Dutton - 2003 - Philosophy and Literature 27 (2):485-494.
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  30.  5
    Erratum.Denis Dutton - 2003 - Philosophy and Literature 27 (1).
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  31.  6
    Heavy Traffic.Denis Dutton - 1996 - Philosophy and Literature 20 (1):283-297.
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  32.  10
    Review Essay: Guidelines for Bias-Free Writing.Denis Dutton - 1996 - Philosophy and Literature 20 (2):551-566.
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  33.  24
    The Empire Writes Back, with a Vengeance.Denis Dutton - 1995 - Philosophy and Literature 19 (1):198-205.
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  34.  8
    War of the Worldviews.Denis Dutton & Garry Hagberg - 2002 - Philosophy and Literature 26 (1):iii-iv.
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  35. Art, Behavior, and the Anthropologists.Denis Dutton - manuscript
    DO SOCIOLOGY AND ANTHROPOLOGY STAND with the sciences or with the humanities? Most attempts to settle this question involve comparing these disciplines with the natural sciences on the one hand and with history on the other. If we take history as paradigmatic of the various forms of humanistic inquiry, we will certainly find many illuminating comparisons to be drawn between it and the social sciences, but history is not the only humanistic inquiry. In fact, there exists another whole realm of (...)
     
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  36.  20
    A Darwinian Theory of Beauty.Denis Dutton - 2014 - Philosophy and Literature 38 (1A):A314-A318.
  37.  4
    America's Most Wanted, and Why No One Wants It.Denis Dutton - 1998 - Philosophy and Literature 22 (2):530-543.
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  38.  20
    Bookmarks.Denis Dutton - 1990 - Philosophy and Literature 14 (2):446-454.
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  39.  1
    Bookmarks.Denis Dutton - 1989 - Philosophy and Literature 13 (2):426-434.
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  40. Bookmarks.Denis Dutton - 1991 - Philosophy and Literature 15 (2):377-390.
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  41.  19
    Beauty Is Fun and Fun Beauty —or Is That All Ye Need to Know?Denis Dutton - 1992 - Philosophy and Literature 16 (2):432-437.
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  42.  18
    Beethoven on Prozac.Denis Dutton - 1997 - Philosophy and Literature 21 (2):340-345.
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  43.  25
    Book Reviews : Sociological Explanation as Translation. BY STEPHEN P. TURNER. Cambridge: Cambridge University Press, 1980. P. X + 110. $14.96 , $5.95. [REVIEW]Denis Dutton - 1984 - Philosophy of the Social Sciences 14 (4):581-582.
  44. Book Reviews: H. Gene Blocker, the Aesthetics of Primitive Art.Denis Dutton - 1995 - Journal of Aesthetics and Art Criticism 53 (3):321-322.
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  45.  29
    Darwin and Political Theory.Denis Dutton - 2003 - Philosophy and Literature 27 (1):241-254.
    Evolutionary psychology has much to say about the origins of human political structures. Paul Rubin argues persuasively that given our hard-wired sociality, democracy is the best, most stable political arrangement we can hope for. He is correct in this view.
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  46.  17
    Decontextualized Crab; Nietzsche Dreams of Detroit.Denis Dutton - 1992 - Philosophy and Literature 16 (1):239-249.
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  47.  32
    Darwinism Defended.Denis Dutton - 1984 - Teaching Philosophy 7 (2):173-174.
  48.  4
    Darwinism Defended: A Guide to the Evolution Controversies. [REVIEW]Denis Dutton - 1984 - Teaching Philosophy 7 (2):173-174.
  49. Delusions of Postmodernism.Denis Dutton - manuscript
    That postmodernism is a general cultural mood and a style in art, architecture, and literature is uncontroversial. But does postmodernism present a coherent intellectual doctrine or theory of politics, art, or life? In the discussion which follows, I will concentrate on two aspects of the intellectual pretensions of postmodernism. First, I examine the postmodernist claim that to justify the idea that the postmodern world is characterized by a general indeterminacy of meaning. Next I will look at aspects of the postmodernist (...)
     
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  50. Dare to Think for Yourself.Denis Dutton - unknown
    With Toni Morrison, I acknowledge that what I think and do is already inscribed on my teaching, and all my work. Indeed, we do "teach values by having them," or at least cannot but reveal our values in the classroom in one manner or another. This is not a voluntary option for those of us who teach in higher education or anywhere else: it is a permanent feature of the human condition. I sit at my computer overlooking a grass commons (...)
     
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