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  1. Semiotics 1980.Michael Herzfeld and Margot Lenhart (ed.) - 1980 - Plenum Press.
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  2. The Archive, the Event and its Architecture.Lucy Gunning (ed.) - 2007
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  3. Understanding as Transformative Activity: Radicalizing Neo-Cognitivism for Literary Narratives.Ingrid Vendrell Ferran - 2024 - Philosophia 52 (1):29-36.
    Mikkonen’s new book and his emphasis on understanding should be regarded as an important contribution to the contemporary debate on the cognitive value of literary narratives. As I shall argue, his notion of understanding can also help explain how literature is existentially valuable. In so doing, his account can support a radicalized contemporary neo-cognitivism according to which literature can affect us existentially and lead to a personal transformation.
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  4. State of the Art - Elements for Critical Thinking and Doing.Erich Berger, Mari Keski-Korsu, Marietta Radomska & Line Thastum (eds.) - 2023 - Helsinki: Bioart Society.
    How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...)
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  5. The dualist character of a garden’s aesthetic properties.David Fenner - forthcoming - British Journal of Aesthetics.
    The attribution of perceptually based aesthetic properties to a garden should be indexed to whether that attribution is (1) to the ever-changing dynamic garden or (2) to some phenomenal capture of the garden in one’s experience, frozen like a photograph. Perceptually based aesthetic properties are used to identify objects, to compare them to others, to evaluate them, and to describe them as we seek to interpret or find meaning in them. This set of activities requires aesthetic properties that do not (...)
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  6. Performative Activism Redeemed.Rossen Ventzislavov - 2023 - Journal of Aesthetics and Art Criticism 81 (2):164-172.
    Over the last century, performance art has troubled the worlds of art and of philosophical aesthetics, unleashing modes of creativity and criticality that spill outside the customary boundaries of either. One of these modes is that of political activism. Performance art is genetically related to activism due to the shared historical contexts their respective waves have emerged from and responded to. In my article, I make the claim that the relationship between performance art and activism also has much to do (...)
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  7. Beauty, Youth, and the Balinese Legong Dance.Stephen Davies - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 259-279.
    In this chapterI discuss beauty and youth in Balinese dance, with special reference to Legong. Legong is the "classic" Balinese dance genre for females and is represented by Balinese to the world as the quintessence of grace, charm, and beauty in their performing arts. . . . Apparently, the notion of beauty that is invoked here is not straightforwardly equivalent to the heterosexual male norms for female sexual attractiveness, which may favor younger women but don't require them to be under (...)
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  8. "A New Kind of Beauty": From Classicism to Karole Armitage's Early Ballets.Sally Banes - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 266-288.
    For the generation of feminists who emerged in the 1960s and 1970s, female beauty was suspect, for it simply pandered to male desire. And for the modernist artists of that period, beauty in art had long since been banished. but for Armitage's generation, already empowered by the political gains of feminism on the one hand, and engaged in a postmodernist challenge to the values of artistic modernism on the other, beauty in art and in the female body could once again (...)
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  9. Monologues from "Four Intruders Plus Alarm Systems" and "Safe".Adrian Piper - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press. pp. 235-244.
    Editor's note: Adrian Piper is a conceptual artist whose work from the past twenty-five years has included performances, graphic art, and installation pieces. Always provocative, Piper seeks to challenge viewers' assumptions about the nature of art, aesthetic response, and modes of evaluating by creating art that involves issues of gender and race. Piper uses political art to confront viewers with emotionally charged environments that preclude our maintaining a safe, aesthetically distanced stance toward the subject matter. being forced to confront our (...)
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  10. Tra il foglio vuoto e lo schermo. Type e token alla prova dell’arte post-mediale.Francesco Ragazzi - 2020 - In Giovanni Argan, Maria Redaelli & Timonina Alexandra (eds.), Taking and Denying. Challenging Canons in Arts and Philosophy. Edizioni Ca' Foscari. pp. 277-299.
    What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning (...)
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  11. Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments.Michel-Antoine Xhignesse - 2023 - New York: Routledge.
    Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments is a teaching-focused resource, which highlights the contributions that imaginative scenarios—paradoxes, puzzles, and thought experiments alike—have made to the development of contemporary analytic aesthetics. The book is divided into sections pertaining to art-making, ontology, aesthetic judgements, appreciation and interpretation, and ethics and value, and offers an accessible summary of ten debates falling under each section. -/- Each entry also features a detailed annotated bibliography, making it an ideal companion for courses surveying a broad (...)
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  12. Pittura: A Gendered Template for Painting.Peg Brand Weiser - 2022 - In Noël Carroll & Jonathan Gilmore (eds.), The Routledge Companion to the Philosophies of Painting and Sculpture. Routledge. pp. 322-336.
    Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely the original (...)
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  13. Pittura: A Gendered Template for Painting.Peg Brand Weiser - 2022 - In Noël Carroll & Jonathan Gilmore (eds.), The Routledge Companion to the Philosophies of Painting and Sculpture. Routledge. pp. 322-336.
    Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely the original (...)
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  14. Street Art, the Discontinuity Thesis, and the Artworld.Jeanette Bicknell - forthcoming - Journal of Aesthetics and Art Criticism.
    The topic of this article is the relationship of street art to both the street and the artworld. I take it as significant that philosophers have turned their attention to “street art” and not, say, “urban outdoor art” or “site-specific art in urban settings.” The “street” in street art seems to imply more than a location or geographic modifier. I consider the further significance of the “street” in street art, and the view, argued or assumed, of the street when philosophers (...)
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  15. Il popolo: definizione e rappresentazioni.Lucia Gangale - 2021 - Filosofia E Nuovi Sentieri 2021 (14 novembre 2021).
    Dare una definizione univoca al concetto di “popolo” risulta impresa ardua e problematica, perché si tratta di un soggetto mobile, la cui definizione cambia nel corso della storia ed in relazione al punto di vista delle varie culture.
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  16. A Family Meal as Fiction.Josep E. Corbi - 2020 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 27:82-105.
    at seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flex- ible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and (...)
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  17. Feminist Pedagogical/ Conversational Performance Art: The Work of Mónica Mayer.Gemma Argüello Manresa - 2021 - Aesthetic Investigations 5 (1):99-110.
    This paper shows how the early feminist pedagogical performance artworks of the Mexican artist Mónica Mayer are example of Connective Aesthetics and Conversational Art.
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  18. Acting and the Self.Sara Bizarro - 2014 - In Alexander Gerner & Jorge Gonçalves (eds.), Altered Self and Altered Self Experience. pp. 59-73.
    In this paper, Douglas Hofstadter’s view of the self as a “strange loop” is used in order to understand how several acting techniques work. As examples of acting techniques I will use the work of Lee Strasberg, Constantin Stanislavski, Stella Adler and Sanford Meisner. I will argue that Douglas Hofstadter’s view of the self as a strange loop allows us to understand how acting works. I will furthermore argue that because Douglas Hofstadter’s view is successful in explaining how different acting (...)
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  19. Defending Games: Reply to Hurka, Kukla and Noë.C. Thi Nguyen - 2021 - Analysis 81 (2):317-337.
    This is my reply to commentators in the symposium on my book, GAMES: AGENCY AS ART. The symposium features commentary by Thomas Hurka, Quill Kukla, and Alva Noe, and originally appeared in Analysis 81 (2).
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  20. Zeami’s Reply to Plato: Mastering the Art of Sarugaku.Susan V. H. Castro - 2017 - Japan Studies Association Journal 15 (1):1-22.
    Mae Smethurst’s work has largely aimed to articulate nō theater in Western terms from their early roots, primarily through Aristotle’s On Tragedy. Her detailed examination of the shared structure of the content of these independent and superficially dissimilar arts reveals their mutual intelligibility and effectiveness through shared underlying universals. In this spirit, I outline how Zeami answers Plato’s first challenge to artistic performance, as expressed in Ion where Plato argues that rhapsody is not an art [techné] because it requires no (...)
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  21. Empathie.Íngrid Vendrell-Ferran - 2022 - In Siegmund Judith (ed.), Handbuch Kunstphilosophie. Stuttgart: Utb.
    Dieser Beitrag handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...)
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  22. Affect in Artistic Creativity: Painting to Feel.Jussi A. Saarinen - 2020 - Lontoo, Yhdistynyt kuningaskunta: Routledge.
    Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...)
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  23. Mirjam Rajner: Fragile Images. Jews and Art in Yugoslavia, 1918 – 1945, Leiden/Boston: Brill 2019, 446 S.Martina Bitunjac - 2020 - Zeitschrift für Religions- Und Geistesgeschichte 72 (2):228-230.
  24. Considering Ethics in Dance, Theatre and Performance.Einav Katan-Schmid - 2020 - British Journal of Aesthetics 60 (1):102-105.
    Considering Ethics in Dance, Theatre and PerformanceBannonFionaPalgrave Macmillan. 2018. pp. xxi + 250. £59.99.
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  25. Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation.Srajana Kaikini - 2018 - Deleuze and Guatarri Studies 12 (1):29-44.
    This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review (...)
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  26. New Television: The Aesthetics and Politics of a Genre.Martin Shuster - 2017 - University of Chicago Press.
    Even though it’s frequently asserted that we are living in a golden age of scripted television, television as a medium is still not taken seriously as an artistic art form, nor has the stigma of television as “chewing gum for the mind” really disappeared. -/- Philosopher Martin Shuster argues that television is the modern art form, full of promise and urgency, and in New Television, he offers a strong philosophical justification for its importance. Through careful analysis of shows including The (...)
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  27. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty: New Essays in Aesthetics and the Philosophy of Art. München, Deutschland: Philosophia.
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  28. Players, Characters, and the Gamer's Dilemma.Craig Bourne & Emily Caddick Bourne - 2019 - Journal of Aesthetics and Art Criticism 77 (2):133-143.
    Is there any difference between playing video games in which the player’s character commits murder and video games in which the player’s character commits pedophilic acts? Morgan Luck’s “Gamer’s Dilemma” has established this question as a puzzle concerning notions of permissibility and harm. We propose that a fruitful alternative way to approach the question is through an account of aesthetic engagement. We develop an alternative to the dominant account of the relationship between players and the actions of their characters, and (...)
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  29. Batallas culturales en torno al clasicismo.Juan José Gómez Gutiérrez - 2008 - Fragmentos de Filosofía 6 (6):115-142.
    Los valores fascistas calaron, de un modo u otro, en todas las manifestaciones del arte italiano de entreguerras. Sin embargo, no todas las manifestaciones del arte fascista fueron el resultado de nacionalismo exacerbado, provincialismo y aislacionismo. Los conceptos de ‘romanità’, ‘italianità’, ‘latinità, o ‘mediterraneità’, que caracterizaban la producción cultural italiana de esos años, actuaron originalmente como matriz de estilos diferentes y susceptibles de diversas interpretaciones.
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  30. Políticas del urbanismo lúdico. Contracultura y ciudad del situacionismo al neohistoricismo (1943-1989).Juan José Gómez Gutiérrez - 2017 - Arquitectura, Ciudad y Entorno 12 (35):121-136.
    Este artículo ofrece una introducción histórica a la teoría y la práctica situacionista en conexión con la arquitectura funcionalista, las economías urbanas, ejemplos de acción política contracultural y su reincorporación a las lógicas de organización tecnocrática de las ciudades. Ello permite definir, desde una perspectiva histórica, algunas claves interpretativas de los rasgos ideológicos y económicos fundamentales de los sistemas urbanos contemporáneos, lo cual, a su vez puede establecer un contexto desde el que reflexionar sobre las posibilidades actuales de un urbanismo (...)
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  31. 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 gardens (...)
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  32. On Pictorially mediated mind-object relations.Jessica Pepp - 2023 - Inquiry: An Interdisciplinary Journal of Philosophy 66 (2):246-274.
    When I see a tree through my window, that particular worldly tree is said to be ‘in’, ‘on’, or ‘before’ my mind. My ordinary visual link to it is ‘intentional’. How similar to this link are the links between me and particular worldly trees when I see them in photographs, or in paintings? Are they, in some important sense, links of the same kind? Or are they links of importantly different kinds? Or, as a third possibility, are they at once (...)
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  33. Between Sky and Water: the face of urban decorum in the late renaissance houses on venice's grand canal.Desley Luscombe - 2011 - Angelaki 16 (1):41-62.
    Represented as the face of Venice, the houses of the Grand Canal were used during the Renaissance to support the portrayal of the Venetian Republic's unique structure of governance. Paolo Paruta's dialogue, Della perfettione della vita politica, a work of political theory on the Venetian Republic, is one such text used here to examine how in a changing context of modernization, architecture has been presented as a representation of state. Paruta's use of architecture as a representation of state was conceptually (...)
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  34. D'une graphie qui ne dit rien. Les ambiguïtés de la notation chorégraphique.Frédéric Pouillaude - 2004 - Poetique 1 (137):99-123.
  35. Gusto. Pensare la frattura. [REVIEW]Fabio Vergine - 2015 - Doppiozero 1.
  36. Modernity and the Classical Tradition: Architectural Essays 1980-1987Restructuring Architectural Theory.Mary Bittner Wiseman, Alan Colquhoun, Marco Diani & Catherine Ingraham - 1991 - Journal of Aesthetics and Art Criticism 49 (3):265.
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  37. Salome and the Dance of WritingPictures of Romance: Form against Context in Painting and Literature.Stephen Melville, Francoise Meltzer & Wendy Steiner - 1989 - Journal of Aesthetics and Art Criticism 47 (1):91.
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  38. Writings on Dance, 1938-68AfterimagesDance Beat, Selected Views and Reviews 1967-1976Watching the Dance Go byI Was There, Selected Dance Reviews and Articles: 1936-1976. [REVIEW]Selma Jeanne Cohen, A. V. Coton, Arlene Croce, Deborah Jowitt, Marcia B. Siegel & Walter Terry - 1979 - Journal of Aesthetics and Art Criticism 37 (3):390.
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  39. L'Architecture flamboyante en FranceModern French CriticismVersions of Baroque, European Literature in the Seventeenth Century.Robert W. Uphaus, Roland Sanfacon, John K. Simon & Frank J. Warnke - 1972 - Journal of Aesthetics and Art Criticism 31 (1):138.
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  40. The Borzoi Book of Modern DanceThe Ballet Called GisellePractical Kinetography Laban.Anita Page, Margaret Lloyd, Cyril W. Beaumont & Valerie Preston-Dunlop - 1971 - Journal of Aesthetics and Art Criticism 29 (4):552.
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  41. Three Pamphlets Collected: Blast at Ballet, 1937; Ballet Alphabet, 1939; What Ballet Is All about, 1959Modern Dance Forms in Relation to the Other Modern Arts. [REVIEW]Juana de Laban, Lincoln Kirstein, Louis Horst & Carroll Russell - 1968 - Journal of Aesthetics and Art Criticism 27 (1):116.
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  42. Why We Don't Write about the Dance: A Review ArticleThe Modern Dance: Seven Statements of Belief.Herta Pauly & Selma Jeanne Cohen - 1967 - Journal of Aesthetics and Art Criticism 25 (4):463.
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  43. Architecture without ArchitectsThe Peoples' ArchitectsThe Human Prospect.Louise Ballard, Bernard Rudofsky, Harry S. Ransom, Lewis Mumford, Harry T. Moore & Karl W. Deutsch - 1966 - Journal of Aesthetics and Art Criticism 25 (2):226.
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  44. Art and Architecture in Spain and Portugal and Their American Dominions: 1500-1800Arte Mexicano de sus origines a nuestros dias. [REVIEW]Joseph A. Baird, George Kubler, Martin Soria & Justino Fernandez - 1961 - Journal of Aesthetics and Art Criticism 20 (1):101.
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  45. The Theory of Proportion in ArchitectureThe Golden Number.Francois Bucher, P. H. Scholfield & M. Borissavlievitch - 1959 - Journal of Aesthetics and Art Criticism 17 (4):525.
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  46. Ten Talents in the American TheatreFrom the Modern Repertoire. Series Three.James Schevill, David H. Stevens & Eric Bentley - 1958 - Journal of Aesthetics and Art Criticism 17 (1):121.
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  47. Architectural Symbolism of Imperial Rome and the Middle AgesThe Railroad Station.Paul Zucker, E. Baldwin Smith & Carroll L. V. Meeks - 1957 - Journal of Aesthetics and Art Criticism 16 (2):284.
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  48. Architecture, Ambition and AmericansAn American Architecture.Paul Zucker, Wayne Andrews, Frank Lloyd Wright & Edgar Kaufmann - 1957 - Journal of Aesthetics and Art Criticism 15 (3):362.
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  49. Architecture in Old KentuckySchopferische Bauideen der deutschen Romantik.Paul Zucker, Rexford Newcomb & Hermann Beenken - 1953 - Journal of Aesthetics and Art Criticism 12 (2):268.
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  50. An Introduction to Modern ArchitectureHomes.Paul Zucker, Elizabeth Mock & J. M. Richard - 1948 - Journal of Aesthetics and Art Criticism 7 (2):168.
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