Results for 'J. Aesthet Art Crit'

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  1. Selected subject bibliography.J. Aesthet Art Crit & J. Amer Psychoanal Ass - forthcoming - Humanitas.
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  2.  8
    SOŠKOVÁ, J. : Aesthetics and Philosophy of Art of Svätopluk Štúr.Věra Beranová - 2018 - Espes 7 (2):51-53.
    SOŠKOVÁ, J. : Estetika a filozofia umenia Svätopluka Štúra. Prešov: FF PU, ISBN 978-80-555-1878-7.
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  3. The Fate of Art: Aesthetic Alienation From Kant to Derrida and Adorno.J. M. Bernstein - 1992 - Pennsylvania State University Press.
    Aesthetic alienation may be described as the paradoxical relationship whereby art and truth have come to be divorced from one another while nonetheless remaining entwined. J. M. Bernstein not only finds the separation of art and truth problematic, but also contends that we continue to experience art as sensuous and particular, thus complicating and challenging the cultural self-understanding of modernity. Bernstein focuses on the work of four key philosophers—Kant, Heidegger, Derrida, and Adorno—and provides powerful new interpretations of their views. Bernstein (...)
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  4.  35
    The Science of Aesthetics, the Critique of Taste, and the Philosophy of Art: Ambiguities and Contradictions.J. Colin McQuillan - 2021 - Aesthetic Investigations 4 (2):144-162.
    Aesthetics is the part of contemporary academic philosophy that is concerned with art, beauty, criticism, and taste. As such, it must address metaphysical issues, epistemic problems, and questions of value. This makes it difficult to present a coherent account of the subject matter of aesthetics. In this article, I argue that this difficulty is the result of ambiguities and contradictions that arose in disputes about the relationship between the science of aesthetics, the critique of taste, and the philosophy of art (...)
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  5. STOLNITZ, J. - "Aesthetics and Philosophy of Art Criticism". [REVIEW]M. Weitz - 1962 - Mind 71:124.
     
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  6. The Aesthetic Self. The Importance of Aesthetic Taste in Music and Art for Our Perceived Identity.Joerg Fingerhut, Javier Gomez-Lavin, Claudia Winklmayr & Jesse J. Prinz - 2021 - Frontiers in Psychology 11:577703.
    To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such (...)
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  7. T. J. DIFFEY: "Art and its Objects. An Introduction to Aesthetics". [REVIEW]Richard Wollheim - 1970 - Ratio (Misc.) 12 (2):182.
     
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  8.  58
    Nuanced aesthetic emotions: emotion differentiation is related to knowledge of the arts and curiosity.Kirill Fayn, Paul J. Silvia, Yasemin Erbas, Niko Tiliopoulos & Peter Kuppens - 2017 - Cognition and Emotion 32 (3):593-599.
    The ability to distinguish between emotions is considered indicative of well-being, but does emotion differentiation in an aesthetic context also reflect deeper and more knowledgeable aesthetic experiences? Here we examine whether positive and negative ED in response to artistic stimuli reflects higher fluency in an aesthetic domain. Particularly, we test whether knowledge of the arts and curiosity are associated with more fine-grained positive and negative aesthetic experiences. A sample of 214 people rated their positive and negative feelings in response to (...)
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  9. The Aesthetics of the Forger: Stylistic Criteria in Ancient Art Forgery.J. M. Eisenberg - 1992 - Minerva 3 (3):10-15.
     
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  10.  63
    The aesthetics of modern art.J. P. Hodin - 1967 - Journal of Aesthetics and Art Criticism 26 (2):181-186.
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  11.  23
    Aesthetics and Problems of EducationReading and Writing in the Arts, a Handbook.J. Gutmann, Ralph A. Smith & Bernard Goldman - 1972 - Journal of Aesthetics and Art Criticism 30 (4):571.
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  12.  8
    Reclaiming art in the age of artifice: a treatise, critique, and call to action.J. F. Martel - 2015 - Berkeley, California: Evolver Editions.
    Draws on examples ranging from prehistoric cave art to modern pop music to discuss the nature and purpose of art and its use by powerful social and cultural forces.
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  13. Art and goodness: Collingwood's aesthetics and Moore's ethics compared.T. J. Diffey - 1985 - British Journal of Aesthetics 25 (2):185-198.
  14.  7
    Networked Art.Craig J. Saper - 2001 - Univ of Minnesota Press.
    The experimental art and poetry of the last half of the twentieth century offers a glimpse of the emerging networked culture that electronic devices will make omnipresent. Craig J. Saper demarcates this new genre of networked art, which uses the trappings of bureaucratic systems - money, logos, corporate names, stamps - to create intimate situations among the participants. Saper explains how this genre developed from post-World War II conceptual art, including periodicals as artworks in themselves; lettrist, concrete, and process poetry; (...)
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  15.  42
    The source and aesthetic value of permanency in art and literature.J. D. Logan - 1901 - Philosophical Review 10 (1):36-44.
  16.  10
    The Arts Compared: An Aspect of Eighteenth-Century British Aesthetics.Walter J. Hipple - 1976 - Journal of Aesthetics and Art Criticism 34 (3):345-346.
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  17. The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):123-137.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  18.  19
    The Enjoyment of Being Had: The Aesthetics of Masquerade in The Confidence-Man.J. Asher Godley - 2024 - Philosophies 9 (2):51.
    Impostors, confidence artists, and artful deceivers seem to have achieved a strange kind of popularity and even prestige in our contemporary political landscape, for reasons that remain elusive, especially given how harmful and socially unwanted such behaviors ostensibly are. Herman Melville’s 1857 novel, The Confidence-Man: His Masquerade, helps us shift our perspective on this seemingly irrational phenomenon because it points out how being susceptible to dupery is linked to the enjoyment of fiction itself. This insight also highlights the importance of (...)
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  19. The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno.J. M. Bernstein - 1998 - Philosophical Quarterly 48 (190):132-134.
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  20.  66
    Ahead of its Time: Dickens's Prescient Vision of the Arts.J. John & C. Wood - 2024 - In .
    Dickens’s relationship with the Arts has confounded or silenced some of the most eminent critics from his day to ours. His own reticence on the topic likewise makes the idea of a book on Dickens and the Arts a little odd or dissonant. Though as this volume makes clear, he was well versed in a range of high and low arts, he was seemingly determined to embrace, if not the wrong side of the cultural track, metaphorically speaking, a different track. (...)
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  21.  46
    The Philosophy of Art in Reid's Inquiry and Its Place in 18th-Century Scottish Aesthetics.Michael J. Demoor - 2006 - Journal of Scottish Philosophy 4 (1):37-49.
    Abstract It is argued that the scattered remarks on the fine arts made in Reid's Inquiry into the Human Mind (1764) present a conception of the relation between perception and the fine arts that is at once compatible with and different from Reid's mature theory of art in Of Taste (1785). This alternative account of art-relevant perception also points beyond the limits of a philosophy of art developed according to the traditional theory of taste dominant in 18th-century Scottish aesthetic thought, (...)
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  22.  34
    Dealing with the Visual: Art History, Aesthetics and Visual Culture.J. Gaiger - 2006 - British Journal of Aesthetics 46 (1):102-104.
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  23.  28
    Mimesis and Art: Studies in the Origin and Early Development of an Aesthetic Vocabulary.J. C. B. Gosling - 1969 - Philosophical Review 78 (2):273.
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  24.  25
    Pragmatist Aesthetics: Living Beauty, Rethinking Art (review).John J. Stuhr - 1993 - Philosophy and Literature 17 (2):383-385.
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  25.  79
    Art and aesthetic experience.Joel J. Kupperman - 1975 - British Journal of Aesthetics 15 (1):29-39.
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  26. "Santayana, Art, and Aesthetics": Jerome Ashmore. [REVIEW]T. J. Diffey - 1967 - British Journal of Aesthetics 7 (2):201.
     
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  27.  80
    The Aesthetics of Freud: A Study in Psychoanalysis and Art.Jack J. Spector - 1973 - Journal of Aesthetics and Art Criticism 32 (2):284-285.
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  28.  21
    Art and Philosophy: Conceptual Issues in Aesthetics.Robert J. Matthews - 1982 - Journal of Aesthetic Education 16 (4):109.
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  29.  60
    Aesthetic experience and psychological definitions of art.Douglas J. Dempster - 1985 - Journal of Aesthetics and Art Criticism 44 (2):153-165.
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  30.  54
    Aesthetic Alienation and the Art of Modernity.Rory J. Conces - 1994 - Southwest Philosophy Review 10 (2):149-64.
  31.  45
    The art object in hindu aesthetics.Ralph J. Hallman - 1954 - Journal of Aesthetics and Art Criticism 12 (4):493-498.
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  32.  33
    Special Section: Rethinking Art and Aesthetics in the Age of Creative Machines: Editor’s Introduction.David J. Gunkel - 2017 - Philosophy and Technology 30 (3):263-265.
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  33.  13
    Perceiving the arts: an introduction to the humanities.Dennis J. Sporre - 2000 - Upper Saddle River, N.J.: Prentice Hall/Pearson.
    Introduction. What are the arts and how do we respond to and evaluate them? -- Pictures : drawing, painting, printmaking, and photography -- Sculpture -- Architecture -- Music -- Literature -- Theatre -- Cinema -- Dance.
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  34. Pictorial art and visual experience.J. Hyman - 2000 - British Journal of Aesthetics 40 (1):21-45.
  35. Sport, the aesthetic and art: further thoughts.Peter J. Arnold - 2013 - In Jason Holt (ed.), Philosophy of Sport: Core Readings. Peterborough, Ontario, Canada: Broadview Press.
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  36.  6
    John Dewey on Art, Aesthetic Education, and the Democratic Community: The Lab School Works of 1896–1900.Leonard J. Waks - 2024 - Education and Culture 39 (2):4-24.
    Important works in the Dewey corpus — particularly those discussing the theory and practice of art and aesthetic education, prepared from 1896 through 1900 while Dewey was working out the plan for the University's Laboratory School—remain virtually unstudied. When interpreting or building upon Dewey's theory of art and art education, scholars have relied on major works including _Democracy and Education, Experience and Nature_, and _Art as Experience_. The purpose of this paper is to revisit the Lab School works and reinterpret (...)
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  37.  9
    Bakhtin and the visual arts.Deborah J. Haynes - 1995 - New York: Cambridge University Press.
    Bakhtin and the Visual Arts is the first book to assess the relevance of Mikhail Bakhtin's ideas as they relate to painting and sculpture. First published in the 1960s, Bakhtin's writings introduced the concepts of carnival and dialogue or dialogism, which have had significant impact in such diverse fields as literature and literary theory, philosophy, theology, biology, and psychology. In his four early aesthetic essays, written between 1919 and 1926, and before he began to focus on linguistic and literary categories, (...)
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  38.  93
    Sport, the aesthetic and art: Further thoughts.Peter J. Arnold - 1990 - British Journal of Educational Studies 38 (2):160-179.
  39. Arte, artistas.Antonio J. Bucich - 1964 - Buenos Aires,: Editorial Ergon.
     
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  40.  23
    Modern art and geometry.J. P. Hodin - 1971 - British Journal of Aesthetics 11 (1):74-80.
  41.  1
    Arte e utopia: arte de nenhuma parte.Coelho Netto & J. Teixeira - 1987 - São Paulo-SP.: Editora Brasiliense.
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  42.  61
    Classic and Romantic German Aesthetics.J. M. Bernstein (ed.) - 2002 - New York: Cambridge University Press.
    This 2002 volume brings together major works by German thinkers, writing just prior to and after Kant, who were enormously influential in this crucial period of aesthetics. These texts include the first translation into English of Schiller's Kallias Letters and Moritz's On the Artistic Imitation of the Beautiful, together with translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. In a philosophical introduction J. M. Bernstein traces the development of aesthetics from its (...)
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  43.  14
    A Bibliography of Aesthetics and of the Philosophy of the Fine Arts from 1902 to 1932. [REVIEW]J. A. Passmore - 1937 - Australasian Journal of Philosophy 15 (2):150.
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  44. Art, taste and society.J. Snyman - 1993 - Estetika: The European Journal of Aesthetics 30 (1):11-22.
     
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  45. Kant on Aesthetic Ideas and Beauty.Robert J. Yanal - unknown
    Readers of Kant’s Critique of Judgment (1790) have understandably been stumped trying to decipher Kant’s views on the relation between beauty and art.1 At §43 Kant ends his discussion of “free natural” beauties such as flowers and birds of paradise and begins to formulate a theory of fine art, according to which fine art has as its purpose the expression of “aesthetic ideas.” This theory of fine art, perhaps because it is saddled with examples of second-rate art (including a poem (...)
     
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  46. Tolstoy on aesthetics: What is art?T. J. Diffey - 2003 - British Journal of Aesthetics 43 (3):324-326.
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  47.  18
    Art and Psyche, a Study in Psychoanalysis and Aesthetics.Jack J. Spector - 1986 - Journal of Aesthetics and Art Criticism 45 (1):91-94.
    Many forays have been made by psychoanalysts into the aesthetic realm, particularly in the form of interpretations of works of art and discussions of the particular or general pathology that may predispose individuals toward artistic creativity. Likewise, occasional philosophers have commented on the usefulness of psychoanalysis as a way of approaching areas of mutual interest. This study aims to contribute to this ongoing interdisciplinary dialogue, primarily through a focus on pathography, the term and method originated by Freud in his 1910 (...)
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  48.  26
    Idea: A Concept in Art Theory.Erwin Panofsky & Joseph J. S. Peake - 1968 - University of South Carolina Press.
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  49. Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence.Nicolas J. Bullot, William P. Seeley & Stephen Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (4):453-463.
    To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...)
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  50.  31
    High Techne: Art and Technology from the Machine Aesthetic to the Posthuman (review).Craig J. Saper - 2002 - Symploke 10 (1):229-231.
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