Results for ' Danto's claim, of interpretation, constitutive of a work of art'

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  1.  18
    What, After All, is a Work of Art?: Lectures in the Philosophy of Art.Joseph Margolis - 1999 - Pennsylvania State University Press.
    _What, After All, Is a Work of Art? _directs our attention toward historicity, the inherent historied nature of thinking, and the artifactual, culturally emergent nature of both art and human selves. While these are familiar themes in Margolis's well-known studies of art and culture, they are largely neglected in English-language aesthetics and even philosophy in general. Margolis brings these primary themes to bear on a number of strategically selected issues: the modernism/postmodernism dispute; the treatment of modernist and "post-historical" painting (...)
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  2.  31
    Work and Object: The Artist's Sanction in Contemporary Art.Sherri Irvin - 2003 - Dissertation, Princeton University
    Is an artwork simply identical to some physical object? While clearly not viable for art forms like literature and music, the view that artworks are physical objects is appealing for the singular visual arts , since it accords with our intuitions about the nature of visual artworks. A traditional challenge to the view holds that physical objects cannot possess representational properties, and thus visual artworks, most of which do have such properties, cannot be identical to physical objects. -/- In chapter (...)
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  3. The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge.Stephen Snyder - 2015 - CounterText 1 (3).
    Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...)
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  4.  37
    Creating Works of Art by Interpreting Objects. A Critical Note on Arthur C. Danto's Theory of Art.Heikki Saari - 2002 - Nordic Journal of Aesthetics 14 (25-26).
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  5.  54
    Arthur Danto as a Zen master: an interpretation of Danto’s philosophy of art from a Zen perspective.Peng Feng - 2021 - Asian Philosophy 31 (1):33-47.
    Arthur Danto is one of the best Anglophone philosophers of art of the second half of the 20th century. His unique methodology of indiscernibility and provocative claim about the end of art have bee...
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  6.  2
    The Moment of the Sublime in Marc Richir’s Phenomenology.Focuses Primarily on the Methodological Problem of Motivation He Also has A. Cross-Disciplinary Interest & A. Monograph on Eugen Fink’S. Phenomenology of Dreaming Is Working on the Phenomenology of Dreaming He is the Author of Formen der Versunkenheit - 2025 - Journal of Aesthetics and Phenomenology 11 (1):171-185.
    In the final years of his life, the Belgian phenomenologist Marc Richir started to question if philosophical writing would become pointless when artists, great poets for example, have already achieved so well what philosophers have always aspired to achieve. There is no doubt that Richir considers himself in alliance with artists, since he basically believes that “phenomenology is trying to say the same thing as poets or musicians, or even possibly painters, but with philosophical language”. He seems thereby to imply (...)
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  7.  55
    What Art Is.Arthur C. Danto - 2013 - New Haven: Yale University Press.
    _A lively meditation on the nature of art by one of America's most celebrated art critics_ What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, _What Art Is _challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always (...)
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  8.  40
    X—Two Shoes and a Fountain: Ecstasis, Mimesis and Engrossment in Heidegger’s The Origin of the Work of Art.Stephen Mulhall - 2019 - Proceedings of the Aristotelian Society 119 (2):201-222.
    In this essay, I argue for three interpretative claims about the philosophical strategies and examples employed in the first of Heidegger’s three lectures on ‘The Origin of the Work of Art’. I argue that his initial response to a Van Gogh painting is intended to dramatize a confusion rather than to articulate an insight; that his invocation of a poem by C. F. Meyer serves a number of functions overlooked by other commentators; and that Heidegger’s overall approach is best (...)
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  9.  82
    Essentialism and historicism in Danto's philosophy of art.Michael Kelly - 1998 - History and Theory 37 (4):30–43.
    Arthur C. Danto has long defended essentialism in the philosophy of art, yet he has been interpreted by many as a historicist. This essentialism/historicism conflict in the interpretation of his work reflects the same conflict both within his thought and, more importantly, within modern art itself. Danto's strategy for resolving this conflict involves, among other things, a Bildungsroman of modern art failing to discover its essence, an essentialist definition of art provided by philosophy which is indemnified against history, (...)
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  10. Arthur Danto’s Andy Warhol: the Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - forthcoming - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  11. The Garden as Art: A new Space for the Garden in Contemporary Aesthetics.John Francis Powell - 2017 - Dissertation,
    Western art gardens have enjoyed a chequered relationship with philosophical aesthetics. At different times, they have been both lauded and rejected as exemplars of art, and, for most of the last 150 or so years, they have been largely ignored. However, during the last 25 years, there has been a welcome resurgence of philosophical interest in such gardens. This study situates the work stemming from this revival of interest in its historical context and assesses its adequacy in accounting for (...)
     
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  12.  14
    (1 other version)Surface and Deep Interpretation.Peg Brand & Myles Brand - 1993 - In Mark Rollins, Danto and His Critics. Malden, MA: Wiley-Blackwell. pp. 69–83.
    This chapter contains sections titled: Analogy with Human Action The Dependency Theses Are Deep Interpretations Weakly Dependent on Surface Interpretations? Consequences for the Constitutive Dependency Thesis.
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  13.  60
    On Giving Works of Art a Face.Roger A. Shiner - 1978 - Philosophy 53 (205):307 - 324.
    The remarks that critics make about works of art are various in character. Some of them are strictly interpretative—for instance, The Lord of the Rings may be claimed to be an allegorical representation of the Gospel Story; the slow movement of a symphony may be said to express a period of calm after a revolution; a painting may be said to depict the horrors of war. Some may be biographical—that the play was written in 1654, that the poem was written (...)
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  14.  23
    Appreciation of Art as a Perception Sui Generis: Introducing Richir’s Concept of “Perceptive” Phantasia.Dominic Ekweariri - 2021 - Frontiers in Psychology 12.
    In theOrigin of the work of art, Heidegger claimed that the work of art opens to us thetruth of Being, the opening of the world. Two problematics arise from this. First, his idea of “world-disclosure” evoked a sense ofeverydayness(which captures, for me, the idea of credulism in perception). Second, the senses oftruth,Being, andworldare metaphysically condensed. Hence the question: how then could the “truth of Being” or the “world” that artworks reveal be experienced? Among other ways (mimesis, imagination, perception, (...)
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  15.  19
    Arthur Danto E o problema da interpretação de obras de arte.Debora Pazetto Ferreira - 2018 - Kriterion: Journal of Philosophy 59 (139):93-108.
    RESUMO A definição de arte desenvolvida por Arthur Danto pressupõe que algo é uma obra de arte por ser o correlato de uma interpretação, inscrita em uma rede de significações históricas, teóricas e sociais, que lhe atribui o estatuto de obra de arte. Trata-se de uma definição essencialista que, no entanto, não se funda em algo que é percebido no objeto, mas no objeto percebido como arte. Levando em consideração que o conceito de “interpretação” é um dos pontos cardinais da (...)
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  16.  3
    Art, Rhythm, and the Truth of the Sensible. Henri Maldiney’s Phenomenological Aesthetics.A. Visiting Scholar at the Husserl Archives in Parishe is Currently Working on A. Phd Project Dealing & the Concept of Form in Merleau-Ponty’S. Philosophy - 2025 - Journal of Aesthetics and Phenomenology 11 (1):29-46.
    In this essay, I will examine Henri Maldiney’s phenomenological aesthetics, focusing on his claim that “art is the truth of the sensible.” This claim is presented by Maldiney in the context of a two-fold critique of Husserl’s and Heidegger’s respective attempts to phenomenologically elucidate the experience of artworks. According to Maldiney, both Husserl and Heidegger fail to recognize what he, following Erwin Straus, terms the “pathic” moment of sense experience, which is also the key moment of the aesthetic reception of (...)
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  17. Heidegger's Conception of World and the Possibility of Great Art.Justin F. White - 2018 - Southern Journal of Philosophy 56 (1):127-155.
    Influential interpretations of Heidegger’s Origin of the Work of Art focus on the view that great art is massive and communal—typically structures like temples and cathedrals. This approach, however, faces two interpretive problems. First, what are we to do with artworks in the essay that clearly are not monumental or communal, such as van Gogh’s Shoes? Second, how should we understand our experience of works such as the Greek temple, which once were but are no longer central in this (...)
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  18.  43
    Danto's Narrative Philosophy of History and the End of Art.Stephen Snyder - 2015 - Philosophy in the Contemporary World 22 (1):50-66.
    This paper investigates Danto’s claims that the narrative of art is over. In this state, which Danto sees as ideal, art is free from any master narrative, and its direction cannot be predicted. The claim that art ought to remain in its current state—pluralistic, free and with no further historical development—is problematic. Danto is correct that late 20th c. art could not be explained through a single narrative, and the myriad forms art takes demonstrate its pluralism. But Danto’s claim that (...)
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  19.  73
    Art as appearance: Two comments on Arthur C. Danto's after the end of art.Martin R. Seel - 1998 - History and Theory 37 (4):102–114.
    In his latest book about art Arthur Danto claims that aesthetic appearance-visuality in the visual arts-has become more and more irrelevant for most of contemporary art. This essay first immanently critiques the distinction between the aesthetic and artistic properties underlying this claim. Danto's claim about the irrelevance of the aesthetic is not compatible with the spirit of his own writings: what Danto denies in After the End of Art has been a cornerstone of his theoretical work since The (...)
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  20.  71
    Hegel, Danto, Adorno, and the end and after of art.Owen Hulatt - 2016 - British Journal for the History of Philosophy 24 (4):742-763.
    ABSTRACTIn this paper, I consider Adorno's claim that art is at, or is coming to, an ‘end’. I consider Adorno's account in relation to the work of Arthur Danto and G. W. F. Hegel. I employ Danto's account, together with two distinct interpretive glosses of Hegel's account, as heuristic devices in order to clarify both Adorno's own arguments, and the context within which they are being advanced. I argue that while Danto and Hegel see art as coming to (...)
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  21. The Method of In-between in the Grotesque and the Works of Leif Lage.Henrik Lübker - 2012 - Continent 2 (3):170-181.
    “Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...)
     
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  22. Of the Origin of the Work of Art (first elaboration).Markus Zisselsberger - 2008 - Epoché: A Journal for the History of Philosophy 12 (2):329-347.
    Starting from the premise that what calls for and happens in the work and thinking of translation is inseparable from the experience of reading Heidegger’sphilosophy, this article suggests that translation in Heidegger’s work is a philosophical problem fundamentally implicated in the thinking of Being. The article first examines Heidegger’s distinction between Übersetzen—a form of translation that seeks correspondences between words of different languages, and Übersetzen—a translation within one’s own language that seeks to respond to the “claim” of language (...)
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  23.  35
    Works of Art and Mere Real Things—Again.Ivan Gaskell - 2020 - British Journal of Aesthetics 60 (2):131-149.
    Citing works by Marcel Duchamp and others, this article argues that the transformation of what Danto termed a mere real thing into an artwork, and of an artwork into a mere real thing, are not symmetrical operations. It argues that mere real things and artworks not only belong to different categories, but that these categories are themselves of different kinds—the former being closed, and the latter open. Viewing mere real things through the lens of art leads to confusion. Amending Goodman’s (...)
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  24.  31
    How to justify a backing’s eligibility for a warrant: the justification of a legal interpretation in a hard case.Shiyang Yu & Xi Chen - 2023 - Artificial Intelligence and Law 31 (2):239-268.
    The Toulmin model has been proved useful in law and argumentation theory. This model describes the basic process in justifying a claim, which comprises six elements, i.e., claim (C), data (D), warrant (W), backing (B), qualifier (Q), and rebuttal (R). Specifically, in justifying a claim, one must put forward ‘data’ and a ‘warrant’, whereas the latter is authorized by ‘backing’. The force of the ‘claim’ being justified is represented by the ‘qualifier’, and the condition under which the claim cannot be (...)
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  25.  47
    Art's Claim to Truth.Santiago Zabala & Luca D'Isanto (eds.) - 2008 - Cambridge University Press.
    First collected in Italy in 1985, _Art's Claim to Truth_ is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of (...)
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  26.  10
    (1 other version)Danto's New Definition of Art and the Problem of Art Theories.Noël Carroll - 1993 - In Mark Rollins, Danto and His Critics. Malden, MA: Wiley-Blackwell. pp. 146–152.
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  27. Interprétation et description d’une oeuvre d’art.Sherri Irvin - 2005 - Philosophiques 32 (1):135-148.
    According to Arthur Danto, it is illegitimate to seek a neutral, or pre-interpretative, description of an artwork, since such descriptions necessarily fail to respect the artwork as such. Instead, we must begin by interpreting, so as to constitute the work : interpretation is what distinguishes artworks from mere physical objects. In this paper, I argue that, while Danto is right to distance artworks from mere things, this can be done without suggesting that artworks are constituted by interpretation. Moreover, Danto’s (...)
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  28.  71
    What Is a "Work of Art"?Ruth Saw - 1961 - Philosophy 36 (136):18 - 29.
    This examination of the concept “work of art” has been prompted by the desire to find a starting point for aesthetic inquiry which, to begin with at any rate, will arouse no dispute. A claim for general agreement such as Clive Bell's: “The starting point for all systems of aesthetics must be the personal experience of a pecular emotion”, is countered by I. A. Richards's “the phantom aesthetic state”, and any attempt to claim “beauty” as the central concept is (...)
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  29. Art as a Form of Negative Dialectics: 'Theory' in Adorno's Aesthetic Theory.William D. Melaney - 1997 - Journal of Speculative Philosophy 11 (1):40 - 52.
    Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his argument (...)
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  30.  69
    "From theodicy to ontodicy: An interpretation of" the origin of the work of art".Henry Southgate - 2012 - Idealistic Studies 42 (2-3):131-144.
    I interpret Heidegger’s “Origin of the Work of Art” in terms of his contemporaneous lectures on Schelling’s Philosophical Investigations into the Essence of Human Freedom. I uncover several connections and similarities between the two works, which make possible a new reading of the artwork essay: namely, as an “ontodicy.” This term of Jean-Luc Nancy’s denotes the readiness with which Heidegger’s thinking on Being may be used to justify evil. I argue that Nancy’s term may be applied legitimately to the (...)
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  31.  51
    Is Art a Thing of the Past?Ido Geiger - 2005 - Idealistic Studies 35 (2-3):173-195.
    The claim that art has no role to play in what is of highest significance for modernity is often attributed to Hegel. Against this interpretation, the paper makes the following claims: First, Hegel does not claim that art is simply superseded in modernity by rational reflection. Artistic expression remains an essential human need in modernity. Second, Hegel’s ideal of modern ethical life in which values shape human nature has an essentially aesthetic shape. Third, Hegel describes the foundation of a new (...)
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  32.  23
    Immortality Revisited.Konstantin Kolenda - 1980 - Philosophy and Literature 4 (2):167-179.
    In lieu of an abstract, here is a brief excerpt of the content:Konstantin Kolenda IMMORTALITY REVISITED In his essay, "Poets and Thinkers: Their Kindred Roles in the Philosophy of Martin Heidegger," J. Glenn Gray points out that Heidegger "does not treat imaginative literature and other works of art qua literature and art but as aspects of philosophy or meditative thought." To Heidegger's question, "How long are we going to prevent ourselves from experiencing the actual as actual?", Gray is inclined to (...)
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  33.  60
    The Constitution of Rhetoric's Tradition.Maurice Rene Charland - 2003 - Philosophy and Rhetoric 36 (2):119-134.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.2 (2003) 119-134 [Access article in PDF] The Constitution of Rhetoric's Tradition Maurice Charland Rhetoric is not a discipline. That is to say, as a domain of theoretical and practical knowledge, rhetoric is weakly institutionalized, lacking a centralized arbiter and standardized set of procedures for establishing truth claims. It also lacks the basic characteristics that Michel Foucault defines as disciplinary, for while we can identify "groups (...)
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  34.  60
    Shaftesbury on life as a work of art.Michael B. Gill - 2018 - British Journal for the History of Philosophy 26 (6):1110-1131.
    ABSTRACTThis paper explicates Shaftesbury’s idea that we ought to live our lives as though they are works of art. I show that this idea is central to many of Shaftesbury’s most important claims, and that an understanding of this idea enables us to answer some of the most contested questions in the scholarship on Characteristics.
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  35. Depiction and plastic perception. A critique of Husserl’s theory of picture consciousness.Christian Lotz - 2007 - Continental Philosophy Review 40 (2):171-185.
    In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his (...)
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  36.  23
    Diktat or Dialogue?: On Gadamer's Concept of the Art Work's Claim.John Pizer - 1988 - Philosophy and Literature 12 (2):272-279.
    In lieu of an abstract, here is a brief excerpt of the content:DIKTAT OR DIALOGUE? ON GADAMER'S CONCEPT OF THE ART WORK'S CLAIM by John Pizer How do we experience a work of art? Put another way, how does die work of art engage and address us? Hans-Georg Gadamer devoted much of his magnum opus, Truth and Method, to answering these questions, and he takes up the task again in a brief essay entided "Aesthetics and Hermeneutics" (1964). (...)
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  37.  30
    Two books on Thomas Hobbes.Perez Zagorin - 1999 - Journal of the History of Ideas 60 (2):361-371.
    In lieu of an abstract, here is a brief excerpt of the content:Two Books on Thomas HobbesPerez ZagorinQuentin Skinner, Reason and Rhetoric in the Philosophy of Hobbes (Cambridge: Cambridge University Press, 1996), xvi, 477p.The Correspondence of Thomas Hobbes, ed. Noel Malcolm, 2 vols. (Oxford: Clarendon Press, 1994), lxxxv, 1008p.The literature on Hobbes in English and other European languages has grown so large in the past two decades that it has become almost unmanageable by students of the philosopher. No one who (...)
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  38. Art's detour: A clash of aesthetic theories.S. K. Wertz - 2010 - Journal of Aesthetic Education 44 (1):pp. 100-106.
    In lieu of an abstract, here is a brief excerpt of the content:Art's DetourA Clash of Aesthetic TheoriesS. K. Wertz (bio)Both John Dewey1 and Martin Heidegger2 thought that art's audience had to take a detour in order to appreciate or understand a work of art. They wrote about this around the same time (mid-1930s) and independently of one another, so this similar circumstance in the history of aesthetics is unusual since they come from very different philosophical traditions. What was (...)
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  39.  49
    The life of faith as a work of art: a Rabbinic theology of faith.Samuel Lebens - 2017 - International Journal for Philosophy of Religion 81 (1-2):61-81.
    This paper argues that God, despite his Perfection, can have faith in us. The paper includes exegesis of various Midrasihc texts, so as to understand the Rabbinic claim that God manifested faith in creating the world. After the exegesis, the paper goes on to provide philosophical motivation for thinking that the Rabbinic claim is consistent with Perfect Being Theology, and consistent with a proper analysis of the nature of faith. Finally, the paper attempts to tie the virtue that faith can (...)
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  40.  72
    Rembrandt’s Art: A Paradigm for Critical Thinking and Aesthetics.Mark S. Conn - 2008 - Journal of Aesthetic Education 42 (2):pp. 68-82.
    In lieu of an abstract, here is a brief excerpt of the content:Rembrandt’s Art: A Paradigm for Critical Thinking and AestheticsMark S. Conn (bio)IntroductionThe purpose of art is to lay bare the questions, which have been hidden by the answers.—James BaldwinPhilosophers have asked, How do we know the world? Over centuries, many visual artists have responded to this question by provoking us to see the world differently—through their own eyes. Rembrandt, by no small measure, is one of those artists. While (...)
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  41.  46
    The Child's Creation of a Pictorial World (review).Ellen Handler Spitz - 2006 - Journal of Aesthetic Education 40 (1):120-122.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Child's Creation of a Pictorial WorldEllen Handler SpitzThe Child'S Creation of a Pictorial World, by Claire Golomb. Mahwah, New Jersey: Erlbaum, 2004, 388 pp.Children's drawings fill us with wonder and delight. They may tend, however, to puzzle us, especially if we seek to comprehend them in terms appropriate to the drawings of mature artists or in terms relevant for other pictorial forms and expressions. Likewise, they may (...)
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  42. Hegel's End of Art and the Artwork as an Internally Purposive Whole.Gerad Gentry - 2023 - Journal of the History of Philosophy 61 (3):473-498.
    Abstractabstract:Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel is (...)
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  43.  24
    (1 other version)Borges and Danto: A reply to Michael Wreen.Christopher Janaway - 1991 - British Journal of Aesthetics 31 (4):72-76.
    In response to Michael Wreen, 'Once is Not Enough?' (British Journal of Aesthetics 1990), this article argues that the short story by Jorge Luis Borges, 'Pierre Menard, Author of the Quixote' supports Arthur Danto's account of the individuation of art works, according to which two verbally identical compositions can be two distinct works. Wreen argues that the Menard story is a case of copying. But the story is one of intentional coincidence of texts, not copying. Hence Wreen lacks a (...)
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  44. (1 other version)Cognitive Interpretation of Kant’s Theory of Aesthetic ideas.Mojca Kuplen - 2019 - Estetika: The European Journal of Aesthetics 56 (12):48-64.
    The aim of my paper is to argue that Kant’s aesthetic ideas can help us to overcome cognitive limitations that we often experience in our attempts to articulate the meaning of abstract concepts. I claim that aesthetic ideas, as expressed in works of art, have a cognitive dimension in that they reveal the introspective, emotional, and affective aspects that appear to be central to the content of abstract phenomena.
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  45. Służebność państwa wobec człowieka i jego praw jako naczelna idea Konstytucji RP z 2 kwietnia 1997 roku – osiągnięcie czy zadanie? [Subordination of the State to the Individual and to Human Rights as a Central Idea of Poland’s Constitution of 2 April 1997: A Goal or an Achievement?].Marek Piechowiak - 2007 - Przegląd Sejmowy 15 (4 (81)):65-91.
    The article deals with relations between the individual and human rights on the one hand, and the State on the other, in the context of the Constitution of the Republic of Poland. The author poses the question whether the idea of subordination of the State to the individual is really a central idea of that constitution. He puts forward many arguments against such suggestion. These arguments relate, above all, to the arrangement of the constitution: a chapter concerning human rights is (...)
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  46. Intentionality, Constitution and Merleau‐Ponty's Concept of ‘The Flesh’.Dimitris Apostolopoulos - 2017 - European Journal of Philosophy 25 (3):677-699.
    Since Husserl, the task of developing an account of intentionality and constitution has been central to the phenomenological enterprise. Some of Merleau-Ponty's descriptions of ‘the flesh’ suggest that he gives up on this task, or, more strongly, that the flesh is in principle incompatible with intentionality or constitution. I show that these remarks, as in Merleau-Ponty's earlier writings, refer to the classical, early Husserlian interpretations of these concepts, and argue that the concept of the flesh can plausibly be understood to (...)
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  47.  42
    A Wittgensteinian approach to discerning the meaning of works of art in the practice of critical and contextual studies in secondary art education.Leslie Cunliffe - 2006 - Journal of Aesthetic Education 40 (1):65-78.
    In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place from (...)
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  48. Clement Greenberg's Theory of Art.T. J. Clark - 1982 - Critical Inquiry 9 (1):139-156.
    It is not intended as some sort of revelation on my part that Greenberg's cultural theory was originally Marxist in its stresses and, indeed in its attitude to what constituted explanation in such matters. I point out the Marxist and historical mode of proceeding as emphatically as I do partly because it may make my own procedure later in this paper seem a little less arbitrary. For I shall fall to arguing in the end with these essay's Marxism and their (...)
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  49.  91
    The Will at the Crossroads: A Reconstruction of Kant's Moral Philosophy.J. Gray Cox - 1984
    This work systematically explicates and defends four key claims in Kant's moral philosophy: The human will is some form of practical reason. The supreme criterion for determining the morality of our choices is provided by an a priori moral law. We find this law to be a source of felt value; it commands unqualified respect. We must suppose the human will is free. ;Traditionally, Kant has been read as holding that these claims imply that the responsible moral agent is (...)
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  50.  85
    Beauty in Hegel's Anthropology and Philosophy of Art.Julia Peters - 2013 - Idealistic Studies 43 (1-2):87-110.
    According to a widespread view, Hegel holds that beauty cannot be found in the creatures and objects of the natural world, but is strictly limited to works of art. I argue in this paper that Hegel’s restriction of beauty to works of art is not as straightforward as it is often taken to be, by showing that the phenomenon of beauty has anthropological roots in Hegel. Juxtaposing the Lectures on Aesthetics with sections from Hegel’s Anthropology in the Encyclopedia of Philosophical (...)
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