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Theodore Gracyk [48]Theodore A. Gracyk [16]Theodore Ambrose Gracyk [1]
  1.  3
    What the Body Told.Theodore Gracyk - 1996 - I.B. Tauris.
    What the Body Told is the second book of poetry from Rafael Campo, a practicing physician, a gay Cuban American, and winner of the National Poetry Series 1993 Open Competition. Exploring the themes began in his first book, The Other Man Was Me, Campo extends the search for identity into new realms of fantasy and physicality. He travels inwardly to the most intimate spaces of the imagination where sexuality and gender collide and where life crosses into death. Whether facing a (...)
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  2. The Routledge Companion to Philosophy and Music.Theodore Gracyk & Andrew Kania (eds.) - 2011 - New York: Routledge.
    _The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
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  3.  8
    The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno.Theodore Gracyk - 1993 - Journal of Aesthetics and Art Criticism 51 (4):646-648.
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  4.  47
    Everyday Aesthetics: Prosaics, the Play of Culture and Social Identities.Theodore Gracyk - 2008 - Journal of Aesthetics and Art Criticism 66 (4):422-424.
  5.  48
    Meanings of Songs and Meanings of Song Performances.Theodore Gracyk - 2013 - Journal of Aesthetics and Art Criticism 71 (1):23-33.
  6. Sublimity, ugliness, and formlessness in Kant's aesthetic theory.Theodore A. Gracyk - 1986 - Journal of Aesthetics and Art Criticism 45 (1):49-56.
  7.  1
    Performances and recordings.Andrew Kania & Theodore Gracyk - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge.
    An overview of the philosophical questions raised by musical performances and recordings.
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  8. Performer, Persona, and the Evaluation of Musical Performance.Theodore Gracyk - 2017 - Contemporary Aesthetics 15 (1).
     
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  9.  77
    Heavy metal: Genre? Style? Subculture?Theodore Gracyk - 2016 - Philosophy Compass 11 (12):775-785.
    Although popular music is increasingly recognized as an important area of inquiry in philosophy of art, many organizing principles have been taken over from other fields without scrutiny. This article selects heavy metal as an example of the value of applying philosophy of criticism to discourse about popular music. Metal is now in its fifth decade, and its combination of longevity and diversity have made it an attractive topic in popular music studies. In accounts of metal by musicologists and social (...)
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  10.  18
    Introduction to Aesthetics: An Analytic ApproachPhilosophy of the Arts: An Introduction to AestheticsAesthetics.Theodore Gracyk, George Dickie, Gordon Graham & Colin Lyas - 1999 - Journal of Aesthetics and Art Criticism 57 (1):82.
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  11.  22
    Performances and Recordings.Andrew Kania & Theodore Gracyk - 2011 - In Theodore Gracyk & Andrew Kania (eds.), Routledge Companion to Philosophy and Music. New York, USA: Routledge. pp. 80-90.
    An overview of philosophical issues raised by musical performances and recordings.
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  12. I Wanna Be Me: Rock Music and the Politics of Identity.Theodore Gracyk - 2003 - Journal of Aesthetics and Art Criticism 61 (3):307-309.
     
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  13. The Philosophy of Art: An Introduction.Theodore Gracyk - 2012 - Malden, Massachusetts: Polity.
    The Philosophy of Art is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art.
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  14. Having bad taste.Theodore A. Gracyk - 1990 - British Journal of Aesthetics 30 (2):117-131.
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  15.  71
    Listening to music: Performances and recordings.Theodore Gracyk - 1997 - Journal of Aesthetics and Art Criticism 55 (2):139-150.
  16.  10
    The Philosophy of Art: An Introduction.Theodore Gracyk - 2011 - Malden, Massachusetts: Polity.
    _The Philosophy of Art_ is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art. Chapters on standard topics are balanced by topics of interest to today's students, including creativity, authenticity, cultural appropriation, and the distinction between popular and fine art. Other topics include emotive expression, pictorial representation, definitional strategies, and artistic value. Presupposing no prior knowledge of philosophy, Theodore Gracyk draws on three decades of teaching experience to provide a balanced and engaging overview, (...)
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  17. Music, Indiscernible Counterparts, and Danto on Transfiguration.Theodore Gracyk - 2013 - Evental Aesthetics 2 (3):58-86.
    Arthur C. Danto’s The Transfiguration of the Commonplace is one of the most influential recent books on philosophy of art. It is noteworthy for both his method, which emphasizes indiscernible pairs and sets of objects, and his conclusion, which is that artworks are distinguished from non-artwork counterparts by a semantic and aesthetic transfiguration that depends on their relationship to art history. In numerous contexts, Danto has confirmed that the relevant concept of art is the concept of fine art. Examples of (...)
     
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  18. Delicacy in Hume's Theory of Taste.Theodore Gracyk - 2011 - Journal of Scottish Philosophy 9 (1):1-16.
    David Hume's celebrated essay ‘‘Of the Standard of Taste’’ is the central text for understanding Hume's aesthetic theory, yet an important claim in that essay has received inadequate attention in the literature. Although it is understood that Hume stresses the importance of delicacy of taste, it is less well understood that this delicacy is a delicacy of imagination, which is distinct from a delicacy of perception. Using both the essay and other texts to elucidate this thesis, it appears that Hume's (...)
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  19.  8
    Rock: The Primary Text.Theodore A. Gracyk & Allan F. Moore - 1994 - Journal of Aesthetic Education 28 (4):105.
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  20.  8
    The Failure of Thomas Reid’s Aesthetics.Theodore A. Gracyk - 1987 - The Monist 70 (4):465-482.
    A spate of recent articles on Thomas Reid’s aesthetic theory constitutes a valuable commentary on both Reid’s own theory and on eighteenth-century aesthetics. However, while these articles provide a generally sympatheic introduction to Reid’s position, they are primarily expository in nature and uncritical in tone. I shall therefore address the plausibility of both Reid’s general aesthetic theory and the arguments advanced for the theory. I contend that his theory, however much an improvement over those offered by his contemporaries, is fatally (...)
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  21. Rethinking Hume's standard of taste.Theodore A. Gracyk - 1994 - Journal of Aesthetics and Art Criticism 52 (2):169-182.
  22.  17
    Introduction: Symposium on Aesthetic Value.Robert Stecker & Theodore Gracyk - 2023 - Journal of Aesthetics and Art Criticism 81 (1):80-80.
    There is a resurgence of interest in aesthetic value. The models widely considered standard—sometimes lumped under the title aesthetic hedonism or aesthetic emp.
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  23.  27
    Pornography as Representation: Aesthetic Considerations.Theodore A. Gracyk - 1987 - The Journal of Aesthetic Education 21 (4):103.
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  24.  49
    The Failure of Thomas Reid’s Aesthetics.Theodore A. Gracyk - 1987 - The Monist 70 (4):465-482.
    A spate of recent articles on Thomas Reid’s aesthetic theory constitutes a valuable commentary on both Reid’s own theory and on eighteenth-century aesthetics. However, while these articles provide a generally sympatheic introduction to Reid’s position, they are primarily expository in nature and uncritical in tone. I shall therefore address the plausibility of both Reid’s general aesthetic theory and the arguments advanced for the theory. I contend that his theory, however much an improvement over those offered by his contemporaries, is fatally (...)
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  25.  71
    Valuing and evaluating popular music.Theodore Gracyk - 1999 - Journal of Aesthetics and Art Criticism 57 (2):205-220.
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  26. On Music.Theodore Gracyk - 2013 - New York: Routledge.
    Opinionated and example-filled, this extremely concise and accessible book provides a survey of some fundamental and longstanding debates about the nature of music. The central arguments and ideas of historical and contemporary philosophers are presented with the goal of making them as accessible as possible to general readers who have no background in philosophy. The emphasis is on instrumental music, but examples are drawn from many cultures as well as from Western classical, jazz, folk, and popular music.
     
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  27. The Philosophy of Art: An Introduction.Theodore Gracyk - 2012 - Malden, Massachusetts: Polity.
    _The Philosophy of Art _is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art. Chapters on standard topics are balanced by topics of interest to today's students, including creativity, authenticity, cultural appropriation, and the distinction between popular and fine art. Other topics include emotive expression, pictorial representation, definitional strategies, and artistic value. Presupposing no prior knowledge of philosophy, Theodore Gracyk draws on three decades of teaching experience to provide a balanced and engaging overview, (...)
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  28.  6
    David Hume, aesthetic properties, and categories of art.Theodore Gracyk - 2023 - Studi di Estetica 25.
    This essay details David Hume’s complex contextualist account of aesthetic properties. Focusing mainly on the essay “Of the standard of taste”, I argue that Hume’s account of aesthetic properties anticipates many points advanced in Kendall Walton’s 1970 essay “Categories of art”, most notably the thesis that proper detection of most aesthetic properties depends on awareness of which nonaesthetic properties are standard, contra-standard, and variable for the relevant category of art. Consequently, they both reject the position we now describe as aesthetic (...)
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  29.  3
    Antithetical Arts: On the Ancient Quarrel between Literature and Music by kivy, peter.Theodore Gracyk - 2009 - Journal of Aesthetics and Art Criticism 67 (4):435-438.
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  30.  4
    Art, Beauty, and Pornography.Theodore A. Gracyk & Jon Huer - 1988 - Journal of Aesthetic Education 22 (2):121.
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  31.  26
    Are Kant’s “Aesthetic Judgment” and “Judgment of Taste” Synonymous?Theodore A. Gracyk - 1990 - International Philosophical Quarterly 30 (2):159-172.
  32. Andrew Light and Jonathan M. Smith, eds., The Aesthetics of Everyday Life Reviewed by.Theodore Gracyk - 2006 - Philosophy in Review 26 (3):205-208.
     
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  33.  25
    Art, Nature and Purposiveness in Kant's Aesthetic Theory.Theodore Gracyk - 1995 - Proceedings of the Eighth International Kant Congress 2:499-507.
  34.  10
    Art Subjects: Making Artists in the American University (review).Theodore Gracyk - 2005 - Journal of Aesthetic Education 39 (1):119-122.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Art Subjects: Making Artists in the American UniversityTheodore GracykArt Subjects: Making Artists in the American University, by Howard Singerman. Berkeley, Los Angeles, London: University of California Press, 1999, 296 pp., $19.95 paper.Howard Singerman's Art Subjects is a study of the training of visual artists in American universities from 1912 to the present. More precisely, the book is an account of how two philosophies ofeducation have competed to inform (...)
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  35.  34
    Critique of Pure Music, by James O. Young: Oxford: Oxford University Press, 2014, pp. xi + 199, US$55.Theodore Gracyk - 2015 - Australasian Journal of Philosophy 93 (2):403-406.
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  36. Documentation and transformation in musical recordings.Theodore Gracyk - 2008 - In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
     
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  37.  12
    Elective Affinities: Musical Essays on the History of Aesthetic Theory by goehr, lydia.Theodore Gracyk - 2010 - Journal of Aesthetics and Art Criticism 68 (2):175-176.
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  38. Evaluating music.Theodore Gracyk - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge.
     
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  39.  19
    Kant's Doctrine of Heuristics.Theodore A. Gracyk - 1991 - Modern Schoolman 68 (3):191-210.
  40.  72
    Kant's shifting debt to british aesthetics.Theodore A. Gracyk - 1986 - British Journal of Aesthetics 26 (3):204-217.
  41.  1
    Liveness and Lip‐Synching.Theodore Gracyk - 2020 - In Jason Southworth & Ruth Tallman (eds.), Saturday Night Live and Philosophy. Chichester, UK: Wiley. pp. 149–165.
    The key idea given in Eminem's defense is that viewers who were upset were simply not understanding the nature of his performance. Implicitly, his defense admits that lip‐synching would be a fraudulent performance. However, the defense reclassifies these performances as genuine but flawed, ones in which he sometimes went silent when he should have been “doubling” the prerecorded vocal. Basically, Eminem's Saturday Night Live (SNL) presentations of “Mosh” and “Bezerk” are Andy Kaufman's “Mighty Mouse” piece minus the frame that raises (...)
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  42.  18
    Música e filosofia.Theodore Gracyk & Andrew Kania - 2011 - Critica.
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  43.  21
    Misappropriation of Our Musical Past.Theodore Gracyk - 2011 - Journal of Aesthetic Education 45 (3):50-66.
    Education and learning occur in various settings, some of which are more formally institutionalized than others. Even if it seems to have failed as a definition of art, awareness of art-world institutions has increased in the wake of George Dickie’s proposal that art enmeshes an artifact in a set of interlocking yet informally structured art-world systems, that is, “the art-world.”1 However, relatively little of that attention has fallen on the distinctively educative roles played by art-world institutions and those who act (...)
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  44.  24
    Music's worldly uses, Ori how I learned to stop worrying and to love led zeeeeliin—.Theodore Gracyk - 2008 - In Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates. Routledge. pp. 137.
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  45.  15
    Neo-Baroque Aesthetics and Contemporary Entertainment (review).Theodore Gracyk - 2007 - Journal of Aesthetic Education 41 (2):115-119.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Neo-Baroque Aesthetics and Contemporary EntertainmentTheodore GracykNeo-Baroque Aesthetics and Contemporary Entertainment, by Angela Ndalianis. Cambridge, MA, and London: MIT Press, 2004, 323 pp., $34.95 cloth.Like the cliché about not judging a book by its cover, the prominence of the term "aesthetics" in a book's title is no indication of what one will find inside. Has the term become so elastic that it will now cover everything cultural? Or is (...)
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  46.  24
    Play it again, Sam: Response to Niblock.Theodore Gracyk - 1999 - Journal of Aesthetics and Art Criticism 57 (3):368-370.
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  47. Philosophie. Zur ästhetischen Spezifik des Jazz : Improvisation und Werk / Daniel Martin Feige ; Music that changed my life : Pop-Musik und Selbstverständnis / Matthias Vogel ; Auditive Evidenz : zum sinnlichen Verstehen in der Musik / Dirk Stederoth ; Who is "You're so vain" about? : reference in popular music lyrics.Theodore Gracyk - 2018 - In Ralf von Appen & André Doehring (eds.), Pop weiter denken: neue Anstösse aus Jazz Studies, Philosophie, Musiktheorie und Geschichte. Transcript.
     
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  48.  27
    Romanticizing Rock Music.Theodore A. Gracyk - 1993 - The Journal of Aesthetic Education 27 (2):43.
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  49.  7
    Stephen Davies , The Artful Species: Aesthetics, Art, and Evolution . Reviewed by.Theodore Gracyk - 2014 - Philosophy in Review 34 (3-4):126-128.
  50.  44
    Searching for the 'popular' and the 'art' of popular art.Theodore Gracyk - 2007 - Philosophy Compass 2 (3):380–395.
    Philosophy of art presupposes differences between art and other cultural activity. Philosophers have recently paid more attention to this excluded activity, particularly to the range of cultural production known as popular art. Three issues have dominated these discussions. First, there is debate about the basis of the distinction. Some philosophers contend that fine art is essentially different from popular art, but others hold that the distinction is entirely social in origin. Second, philosophers disagree on the degree of continuity or discontinuity (...)
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