Results for ' bad art'

977 found
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  1. Appreciating Bad Art.John Dyck & Matt Johnson - 2017 - Journal of Value Inquiry 51 (2):279-292.
    There are some artworks which we appreciate for their bad artistic qualities; these artworks are said to be “good because bad”. This is puzzling. How can art be good just because it is bad? In this essay, we attempt to demystify this phenomenon. We offer a two-part analysis: the artistic flaws in these works make them bizarre, and this bizarreness is aesthetically valuable. Our analysis has the consequence that some artistic flaws make for aesthetic virtues. Such works therefore present a (...)
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  2. Bad Art and Good Taste.Per Algander - 2018 - Journal of Value Inquiry 53 (1):145-154.
    Vol.:The Journal of Value Inquiryhttps://doi.org/10.1007/s10790-018-9660-y1 3Bad Art and Good TastePer Algander1© The Author 2018Aesthetic value and good taste usually go hand in hand. A person with good taste is, typically, someone who appreciates things which exhibit some aesthetic quality or excellence. However, in ordinary life it is commonplace that we indulge in things which are lacking in aesthetic value. For example, we might prefer to watch Days of Our Lives rather than The Wire, or to read a bad crime novel (...)
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  3.  67
    Bad art: A revision a study in the variations of aesthetic feelings.Quentin Bell - 1967 - British Journal of Aesthetics 7 (1):20-30.
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  4.  93
    Bad Art.James K. Feibleman - 1971 - Tulane Studies in Philosophy 20:59-73.
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  5.  73
    Good-Bad Art.John Dyck - 2019 - The Philosophers' Magazine 86:44-50.
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  6.  57
    Bad art as the "corruption of consciousness".Theodore Mischel - 1960 - Philosophy and Phenomenological Research 21 (3):390-396.
  7. Mere Exposure to Bad Art.Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran - 2009 - British Journal of Aesthetics 53 (2):139-164.
  8.  24
    What's so good about bad art?Per Algander - 2024 - Philosophy Compass 19 (11):e70015.
    Some artworks are aesthetically better than others. But can bad artworks have certain merits in virtue of being bad? Can something be so bad that it is good? In this paper I distinguish several interpretations of the question and consider whether contemporary theories of aesthetic value can render such a claim true. I also present a handful of desirable features which a plausible theory of the value of bad art should satisfy.
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  9.  76
    When Public Art Goes Bad: Two Competing Features of Public Art.Mary Beth Willard - 2019 - Open Philosophy 2 (1):1-9.
    Not all public art is bad art, but when public art is bad, it tends to be bad in an identifiable way. In this paper, I develop a Waltonian theory of the category of public art, according to which public art standardly is both accessible to the public and minimally site-specific. When a work lacks the standard features of the category to which it belongs, appreciators tend to perceive the work as aesthetically flawed. I then compare and contrast cases of (...)
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  10.  24
    Editorial Introduction to the Topical Issue “Does Public Art Have to Be Bad Art?”.Mark Kingwell - 2019 - Open Philosophy 2 (1):582-589.
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  11.  81
    Art as Certifiably Good or Bad.Robert C. Trundle - 2011 - Cultura 8 (2):39-50.
    Connections of beauty to science, whereby scientific truth informs truth about art, is denied by a Humean-Kantian-positivist tradition. Its denial of even scientifictheories being known to be true proceeds pari passu with denying any known truth in the less rigorous sciences such as aesthetics that, for Aristotle, studiesbeauty’s cause. Related to causation is a modern problem of “knowing we know”: knowledge in science presupposes a causal principle whose truth is not known when expressed as a truth-functional conditional. But by conditionals (...)
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  12.  66
    Are Bad Works of Art 'Works of Art'?Cyril Barrett - 1972 - Royal Institute of Philosophy Lectures 6:182-193.
    Some years ago I came across the following question thrown out almost casually in the course of discussion: How many of us, it was asked, want to call a ‘bad work of art’ a ‘work of art’? The question was clearly rhetorical; the author quite obviously did not consider that anyone in his right mind would suggest that a bad work of art was a work of art. This struck me as rather odd. Surely there can be good and bad (...)
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  13.  40
    Destructive Leadership: A Critique of Leader-Centric Perspectives and Toward a More Holistic Definition.Christian N. Thoroughgood, Katina B. Sawyer, Art Padilla & Laura Lunsford - 2018 - Journal of Business Ethics 151 (3):627-649.
    Over the last 25 years, there has been an increasing fascination with the “dark” side of leadership. The term “destructive leadership” has been used as an overarching expression to describe various “bad” leader behaviors believed to be associated with harmful consequences for followers and organizations. Yet, there is a general consensus and appreciation in the broader leadership literature that leadership represents much more than the behaviors of those in positions of influence. It is a dynamic, cocreational process between leaders, followers, (...)
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  14.  40
    Art of accepting the ‘least bad’ death.Trisha M. Prentice - 2021 - Journal of Medical Ethics 47 (4):225-226.
    That which constitutes a ‘good death’, or dying well, has long been of interest to philosophers and clinicians alike. While difficult to define due to its deeply personal nature and dependency on spiritual and cultural beliefs and past experiences, Wilkinson1 has drawn parallels from art and music to consider key ethical components. Few in clinical practice would dispute that a ‘good death’ is one that does not rob the person of a valuable life, is aligned with the preferences of the (...)
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  15. (1 other version)How Bad Can Good Art Be?Karen Hanson - 1998 - In Jerrold Levinson, Aesthetics and Ethics: Essays at the Intersection. New York: Cambridge University Press. pp. 204-226.
  16. When Good Art is Bad: Educating the critical viewer.Laura D'Olimpio - 2020 - Theory and Research in Education 18 (2):137-150.
    There is a debate within philosophy of literature as to whether narrative artworks should be judged morally, for their ethical value, meaning and impact. On one side you have the aesthetes, defenders of aestheticism, who deny the ethical value of an artwork can be taken into consideration when judging the work’s overall aesthetic value. Richard Posner backs artists such as Oscar Wilde who famously wrote, ‘there is no such thing as a moral or an immoral book. Books are well written, (...)
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  17. Beauty, bad guys, and art in God's good world.Dustin Messer - 2021 - In Mark J. Boone, Rose M. Cothren, Kevin C. Neece & Jaclyn S. Parrish, The Good, the True, the Beautiful: A Multidisciplinary Tribute to Dr. David K. Naugle. Eugene, OR: Pickwick.
     
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  18. Art: What it Is and Why it Matters.Catharine Abell - 2011 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
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  19.  31
    Public Art in the Private City: Control, Complicity and Criticality in Hong Kong.Bart Wissink & Lara van Meeteren - 2019 - Open Philosophy 2 (1):280-298.
    Responding to Open Philosophy’s call ‘Does public art have to be bad art?’, in this paper we argue that this discussion should pay attention to the consequences of structural transformations that guide the production and presentation of public art in today’s increasingly private city. While entrepreneurial governance and corporate branding strategies generate new opportunities, they might also result in increased risk averseness and control over the content of public art, thus putting its critical potential at risk. That observation ushers in (...)
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  20. Pornographic art.Matthew Kieran - 2001 - Philosophy and Literature 25 (1):31-45.
    The received view holds that pornographic representations can only be bad art. Three arguments for this view are examined based on definitional considerations, the purpose of sexual arousal being inimical to the realization of artistic value, the problem of appreciating a work as pornography and as art. It is argued not only that the received view is without warranty but, moreover, that there are works which are only properly appreciable as pornographic art.
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  21. Trust and sincerity in art.C. Thi Nguyen - 2021 - Ergo: An Open Access Journal of Philosophy 8:21-53.
    Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...)
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  22. Art, Beauty and Morality.Chiara Brozzo & Andy Hamilton - 2022 - In Silvia Caprioglio Panizza & Mark Hopwood, The Murdochian Mind. New York, NY: Routledge.
    In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than (...)
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  23. Fake Views—or Why Concepts are Bad Guides to Art’s Ontology.Michel-Antoine Xhignesse - 2018 - British Journal of Aesthetics 58 (2):193-207.
    It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin and (...)
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  24. The art of videogames.Grant Tavinor - 2009 - Malden, MA: Wiley-Blackwell.
    The new art of videogames -- What are videogames anyway? -- On definition -- Theories of gaming -- A definition of videogames -- Videogames and fiction -- From tennis for two to worlds of warcraft -- Imaginary worlds and works of fiction -- Fictional or virtual? -- Interactive fiction -- Stepping into fictional worlds -- Welcome to rapture -- Meet niko bellic -- Experiencing game worlds -- Acting in game worlds -- Games through fiction -- The nature of gaming -- (...)
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  25. (1 other version)The Puzzle of Good Bad Movies.Uku Tooming - 2020 - Journal of Aesthetic Education 54 (3):31-46.
    There are bad movies, and there are movies that are so bad that they are good. So-called good bad movies have received a lot of attention from critics and moviegoers in recent years. Many people, including those with good taste, are willing to invest their time and resources in watching and discussing them. In this paper, I will argue that the fact that aesthetically competent consumers of cinema are engaging with good bad movies challenges an intuitive assumption according to which (...)
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  26. Painful Art and the Limits of Well-Being.Aaron Smuts - 2013 - In Jerrold Levinson, Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
    In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...)
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  27. A Bad Taste in the Mouth: Gustatory Disgust Influences Moral Judgment.Jesse Prinz - 2011 - Psychological Science 22 (3):295-299.
    “A sentimental layman would feel, and ought to feel, horrified, on being admitted into [an expert art] critic's mind, to see how cold, how thin, how void of human significance, are the motives for favour or disfavour that there prevail.” Thus writes William James. The art-world is dominated by critics who sneer and sentimentality, resist evocation, and issue stale, dispassionate appraisals. Memorized standards are coolly deployed to scan works for the features that are currently in fashion, before an icy verdict (...)
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  28.  8
    The art experience: an introduction to philosophy and the arts.Alex Rajczi - 2024 - New York, NY: Routledge.
    The Art Experience: An Introduction to Philosophy and the Arts takes readers on an engaging and accessible journey that explores a series of fundamental questions about the nature of art and aesthetic value. Three of these questions serve as the major sections for the book's 12 chapters: What makes something a work of art? How should we experience art in order to get the most out of it? And once we understand art, how should we evaluate whether it is good (...)
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  29.  28
    Can Bad Guys have Good gongfu?—A Preliminary Exploration of gongfu Ethics.Peimin Ni - 2016 - Journal of Chinese Philosophy 43 (1-2):9-31.
    This paper tries to explore a gongfu ethics on the basis of traditional Chinese ethical theories. Used in the sense that the Song-Ming Neo-Confucians did, “gongfu” means the art of life in general and not merely the martial arts, although martial arts can be taken as a paradigm example of gongfu. The paper begins with the question “can bad guys have good gongfu,” which leads to three answers, each representing one stage of the dynamic relationship between morality and gongfu: The (...)
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  30. Bad Taste, Aesthetic Akrasia, and Other "Guilty" Pleasures.Mélissa Thériault - 2017 - Journal of Aesthetic Education 51 (3):58-71.
    To what extent does a person who prefers hip-hop rather than opera have legitimate reasons for doing so? Should we immediately classify such a judgment as incompetent because it runs counter to the verdicts of experts, including professional art critics? These questions are often associated with the problem of aesthetic akrasia, a concept taken from the vocabulary of ethics, which involves acting against one’s better judgment, that is, demonstrating irrationality by failing to react in what is, theoretically, the most appropriate (...)
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  31.  33
    Trash, Art, and the Comics.John Dyck - 2023 - Canadian Journal of Philosophy 53 (7-8):688-696.
    Many comics are aesthetically trashy: They are immediately grasped and easily available. Historically, this trashiness is lobbed as an aesthetic defect of many comics, a defect for both their production and their appreciation. To defend these comics, some point to non-aesthetic values, like sociality. I argue that there is aesthetic value to these comics, and that it lies precisely in their trashy characteristics: their immediacy and availability. Many comics have these characteristics because many comics are cartooned. The immediacy of cartooning (...)
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  32. Moral Attention and Bad Sentimentality.Lesley Jamieson - forthcoming - The Journal of Ethics:1-22.
    In this paper, I challenge standard views of the moral badness of sentimentality defended by art critics and philosophers. Accounts based on untruthfulness and self-indulgence lack the resources to both explain the badness of bad sentimentality and to allow that there are benign instances. We are sometimes permitted to be sentimental even though it is self-serving. A non-moralistic account should allow for this. To provide such an account, I first outline a substantive view of the ideal of unsentimentality by turning (...)
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  33.  51
    Why It's Ok to Love Bad Movies.Matthew Strohl - 2021 - Routledge.
    Combining philosophy of art with film criticism, Strohl flips conventional notions of good and bad on their heads and makes the case that the ultimate value of a work of art lies in what it can add to our lives. By this measure, some of the worst movies ever made are also among the best.
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  34. Evaluative Standards In Art Criticism: A Defence.Julia Peters - 2005 - Postgraduate Journal of Aesthetics 2 (1):32-44.
    To a superficial consideration, art criticism might appear as a profession of a parasitic nature, nourishing itself on what is produced by others: by artists. In fact, however, the relation between artistic practice and its criticism is more adequately conceived of as a sort of symbiosis. For, while it is true that criticism depends on and presupposes the existence of its objects - that is, works of art - on the other hand nothing would prevent good art from being equated (...)
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  35. Why Art Became Ugly.Stephen R. C. Hicks - 2004 - Navigator 6 (10).
    For a long time critics of modern and postmodern art have relied on the "Isn't that disgusting" strategy. By that I mean the strategy of pointing out that given works of art are ugly, trivial, or in bad taste, that "a five-year-old could have made them," and so on. And they have mostly left it at that. The points have often been true, but they have also been tiresome and unconvincing—and the art world has been entirely unmoved. -/- Of course, (...)
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  36.  50
    Plato's Expression Theory of Art.Robert Stecker - 1992 - Journal of Aesthetic Education 26 (1):47-52.
    There is no full-fledged definition of art in plato's writings. If one looks for the beginnings of a theory of art in plato, i argue that one can find hints of an expression theory as easily as one can find hints of a mimetic theory. If we are to fully understand what plato thought about art, we must attend to the first sort of hints atleast as carefully as to the second. This is especially needed to understand plato's criteria of (...)
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  37. The Morality of Art: Collingwood's View.Christopher Dreisbach - 1987 - Dissertation, The Johns Hopkins University
    There is something unsatisfactory about the moral condemnation of good works of art: the judgement "that work of art is aesthetically good and morally bad" seems unreasonable. Since the unreasonableness is not one of direct contradiction, it would seem that there must be an indirect contradiction involving a third thing to which aesthetic value and moral value are both connected. ;This dissertation aims to examine this unreasonableness by studying one significant position concerning it. This is the position found by combining (...)
     
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  38.  14
    Takedown: art and power in the digital age.Farah Nayeri - 2022 - New York: Astra House.
    Farah Nayeri addresses the difficult questions plaguing the art world, from the bad habits of Old Masters, to the current grappling with identity politics. For centuries, art censorship has been a top-down phenomenon--kings, popes, and one-party states decided what was considered obscene, blasphemous, or politically deviant in art. Today, censorship can also happen from the bottom-up, thanks to calls to action from organizers and social media campaigns. Artists and artworks are routinely taken to task for their insensitivity. In this new (...)
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  39.  77
    Bad Romance: A Crip Feminist Critique of Queer Failure.Merri Lisa Johnson - 2015 - Hypatia 30 (1):251-267.
    This article critiques Jack Halberstam's concept of queer failure through a feminist cripistemological lens. Challenging Halberstam's interpretation of Erika Kohut in The Piano Teacher as a symbol of postcolonial angst rather than a figure of psychosocial disability, the article establishes a critical coalition between crip feminist theory and queer-of-color theory to promote a materialist politics and literal-minded reading practice designed to recognize minority subjectivities rather than exploiting them for their metaphorical resonance. In asserting that Erika Kohut is better understood as (...)
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  40.  21
    The Limits of Art: Two Essays.Tzvetan Todorov - 2010 - Seagull Books.
    Tzvetan Todorov, one of Europe’s leading intellectuals, explores the complex relations between art, politics, and ethics in the essays that make up _The Limits of Art_. In one essay, “Artists and Dictators,” Todorov traces the intimate relationship between avant-garde art and radical politics in pre-revolutionary Russia, pre-fascist Italy, and pre-Nazi Germany. Todorov sets forth the radical idea that the project of totalitarian dictators and avant-garde artists actually “emerged from the same womb”: both artists and dictators set out to make it (...)
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  41.  16
    Good Taste, Bad Taste, & Christian Taste: Aesthetics in Religious Life.Frank Burch Brown - 2000 - Oxford University Press USA.
    "Good Taste, Bad Taste, and Christian Taste is essential reading for students and scholars of religion and theology, pastors and church-goers, liturgists, and church musicians and artists."--Jacket.
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  42. Art, Understanding, and Mystery.Robbie Kubala - forthcoming - Ergo: An Open Access Journal of Philosophy.
    Apparent orthodoxy holds that artistic understanding is finally valuable. Artistic understanding—grasping, as such, the features of an artwork that make it aesthetically or artistically good or bad—is a species of understanding, which is widely taken to be finally valuable. The objection from mystery, by contrast, holds that a lack of artistic understanding is valuable. I distinguish and critically assess two versions of this objection. The first holds that a lack of artistic understanding is finally valuable, because it preserves the pleasure (...)
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  43. The Good, the Bad, and the Vacuous: Wittgenstein on Modern and Future Musics.Eran Guter - 2015 - Journal of Aesthetics and Art Criticism 73 (4):425-439.
    This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...)
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  44.  27
    How bad can good sport be?William J. Morgan - 2023 - Journal of the Philosophy of Sport 50 (1):36-62.
    I argue that ethical features of sport strongly interact with aesthetic features of sport, such that all pro tanto ethical merits/defects count as aesthetic merits/defects. This is a much-debated topic in the philosophy of art and aesthetics literature, in which recent critics have taken to task this interactionist take on how ethical evaluative properties interact with aesthetic ones. The critics’ main argument against this view is that far too many works of art than theorists of this strong interactionist kind care (...)
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  45.  8
    Good and evil in the garden of art: discrimination as the guarantor of civilization.Anthony Daniels - 2016 - New York, New York: Criterion Books.
    Anthony Daniels tackles the complex relation between good and bad art on the one hand and good and bad ideas on the other. He contrasts authors or artists whom he considers good with those he considers bad, and tries to explain why his opinion is not merely a matter of individual taste but is based upon reason as well. He argues judgment and discrimination (between good and bad, beautiful and ugly) are intrinsic to any conceivable human existence, indeed to thought (...)
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  46.  19
    Virtue and the Art of Teaching Art.John Haldane - 2024 - British Journal of Educational Studies 72 (4):425-440.
    Discussions of the aims and efficacy of teachers tend to focus on an extended present pre supposing a more or less common profile across subjects and recent times. Given the concern with contemporary schooling this is unsurprising, but it limits what might be learned about the character of good and bad teaching, about the particularities of certain fields, and about the ways teachers conceive themselves in relation to their subjects, students and society. This essay considers the teaching of art, by (...)
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  47. Being altogether bad, becoming altogether good.Travis D. Smith - 2008 - In Harvey Claflin Mansfield, Sharon R. Krause & Mary Ann McGrail, The Arts of Rule: Essays in Honor of Harvey Mansfield. Lexington Books.
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  48.  72
    Spectacularly bad: Hume and Aristotle on tragic spectacle.E. M. Dadlez - 2005 - Journal of Aesthetics and Art Criticism 63 (4):351–358.
  49.  17
    The Art of Interpreting Art.Paul Barolsky - 2020 - Arion 28 (1):101-113.
    In lieu of an abstract, here is a brief excerpt of the content:The Art of Interpreting Art PAUL BAROLSKY “The quality of the prose is just as important in nonfiction as in fiction.” —Robert Caro If as Horace famously wrote in the Ars poetica the aim of poetry is to instruct and delight, why shouldn’t the goal of all writing be the same? Why should all readers not enjoy as well as learn from what they read? In the realm of (...)
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  50. Statues, History, and Identity: How Bad Public History Statues Wrong.Daniel Abrahams - 2023 - Journal of the American Philosophical Association 9 (2):253-267.
    There has recently been a focus on the question of statue removalism. This concerns what to do with public history statues that honour or otherwise celebrate ethically bad historical figures. The specific wrongs of these statues have been understood in terms of derogatory speech, inapt honours, or supporting bad ideologies. In this paper I understand these bad public history statues as history, and identify a distinctive class of public history-specific wrongs. Specifically, public history plays an important identity-shaping role, and bad (...)
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