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Elizabeth Burns Coleman [8]Elizabeth B. Coleman [1]
  1.  28
    Cultural Property and Collective Identity.Elizabeth Burns Coleman - 2006 - In Michael Higgins & Stefan Herbrechter (eds.), Returning (to) Communities: Theory, Culture and Political Practice of the Communal. Brill.
  2.  56
    Aboriginal Painting: Identity and Authenticity.Elizabeth Burns Coleman - 2001 - Journal of Aesthetics and Art Criticism 59 (4):385–402.
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  3.  27
    The Offenses of Blasphemy: Messages in and Through Art. [REVIEW]Elizabeth Burns Coleman - 2011 - Journal of Value Inquiry 45 (1):67-84.
  4.  27
    A Broken Record: Subjecting 'Music'to Cultural Rights.Elizabeth Burns Coleman, Rosemary J. Coombe & Fiona MacArailt - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
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  5.  56
    Appreciating "Traditional" Aboriginal Painting Aesthetically.Elizabeth Burns Coleman - 2004 - Journal of Aesthetics and Art Criticism 62 (3):235-247.
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  6.  7
    Art and Ethical Criticism.Elizabeth Burns Coleman - 2010 - Australasian Journal of Philosophy 88 (2):375-376.
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  7.  25
    Privacy and the Public Interest.Elizabeth Burns Coleman & Caron Eastgate Dann - 2016 - Empedocles: European Journal for the Philosophy of Communication 7 (1):57-70.
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  8.  33
    Between Philosophy and Art: A Collaboration at The Lock-Up, Newcastle.Jennifer A. McMahon, Elizabeth Burns Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    At The Lock-Up in Newcastle one weekend in September 2015, a group of artists, musicians and performers, performed to an audience which included philosopher commentators. The idea was to look for points of intersection, interface or divergence between art and philosophy. However, what we found was that the commentators were not engaged in analysing what was simply given them, but instead actively constructing the meaning they would ascribe to the work. As such they were co-creators. The objective of this report (...)
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  9. Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
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