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  1. 'Metaphorically'.Ben Blumson - manuscript
    Not every metaphor can be literally paraphrased by a corresponding simile – the metaphorical meaning of ‘Juliet is the sun’, for example, is not the literal meaning of ‘Juliet is like the sun’. But every metaphor can be literally paraphrased, since if ‘metaphorically’ is prefixed to a metaphor, the result says literally what the metaphor says figuratively – the metaphorical meaning of ‘Juliet is the sun’, for example, is the literal meaning of ‘metaphorically, Juliet is the sun’.
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  2. Philosophical Pictures From Philosopher Portraits.John Dilworth - manuscript
    Portraits of Wittgenstein and Hume are used as test cases in some preliminary investigations of a new kind of philosophical picture. Such pictures are produced via a variety of visual transformations of the original portraits, with a final selection for display and discussion being based on the few results that seem to have some interesting relevance to the character or philosophical views of the philosopher in question.
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  3. Trust and the Appreciation of Art.Daniel Abrahams & Gary Kemp - forthcoming - Ratio.
    Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and the (...)
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  4. The Expressive Import of Degradation and Decay in Contemporary Art.Sherri Irvin - forthcoming - In Peter N. Miller & Soon Kai Poh (eds.), Conserving Active Matter. Bard Graduate Center. pp. 65-79.
    Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...)
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  5. Aesthetic Truth Through the Ages: A Lonerganian Theory of Art History.Ryan Miller - forthcoming - Proceedings of the American Catholic Philosophical Association 94 (2020).
    Classical authors were generally artistic realists. The predominant aesthetic theory was mimesis, which saw the truth of art as its successful representation of reality. High modernists rejected this aesthetic theory as lifeless, seeing the truth of art as its subjective expression. This impasse has serious consequences for both the Church and the public square. Moving forward requires both, first, an appreciation of the strengths and weaknesses of the high modernist critique of classical mimetic theory, and, second, a theory of truth (...)
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  6. 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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  7. Immaterial: Rules in Contemporary Art.Sherri Irvin - 2022 - Oxford University Press.
    Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based (...)
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  8. Machine-Believers Learning Faiths & Knowledges: The New Gospel of Artificial Intelligence.Virgil W. Brower - 2021 - Internationales Jahrbuch Für Medienphilosophie 7 (1):97-121.
    One is occasionally reminded of Foucault's proclamation in a 1970 interview that "perhaps, one day this century will be known as Deleuzian." Less often is one compelled to update and restart with a supplementary counter-proclamation of the mathematician, David Lindley: "the twenty-first century would be a Bayesian era..." The verb tenses of both are conspicuous. // To critically attend to what is today often feared and demonized, but also revered, deployed, and commonly referred to as algorithm(s), one cannot avoid the (...)
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  9. The Right to Be: Wallace Stevens and Martin Heidegger on Thinking and Poetizing.Frederick M. Dolan - 2021 - In Florian Grosser & Nassima Sahraoui (eds.), Heidegger in the Literary World: Variations on Poetic Thinking (New Heidegger Research). pp. 127-140.
    If Martin Heidegger was a philosopher who poetized, Wallace Stevens was a poet who philosophized. In "The Sail of Ulysses," one of his later poems, Stevens speaks enigmatically of a "right to be." The phrase is straightforward, if taken to indicate the right to life. But Stevens is rarely, if ever, straightforward. The poem is much more understandable if we take "being" in a Heideggerian sense, as an understanding of what it means to be.
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  10. “Aesthetic Ideas”: Mystery and Meaning in the Early Work of Barrie Kosky.Jennifer A. McMahon - 2021 - In James Phillips & John Severn (eds.), Barrie Kosky’s Transnational Theatres. New York, NY, USA: Springer. pp. 59-80.
    In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...)
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  11. Aesthetic Archaeology.Jakub Stejskal - 2021 - Critical Inquiry 48 (1):144-166.
    The article’s aim is to clear the ground for the idea of aesthetic archaeology as an aesthetic analysis of remote artifacts divorced from aesthetic criticism. On the example of controversies surrounding the early Cycladic figures, it discusses an anxiety motivating the rejection of aesthetic inquiry in archaeology, namely, the anxiety about the heuristic reliability of one’s aesthetic instincts vis-à-vis remote artifacts. It introduces the claim that establishing an aesthetic mandate of a remote artifact should in the first place be part (...)
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  12. Euclid's Error: The Mathematics Behind Foucault, Deleuze, and Nietzsche.Ilexa Yardley - 2021 - Intelligent Design Center.
    We have to go all the way back to Euclid, and, actually, before, to figure out the basis for representation, and therefore, interpretation. Which is, pure and simple, the conservation of a circle. As articulated by Foucault, Deleuze, and Nietzsche. 'Pi' (in mathematics) is the background state for everything (a.k.a. 'mind').Providing the explanation for (and the current popularity, and, thus, the 'genius' behind) NFT (non fungible tokens). 'Reality' has, finally, caught up with the 'truth.'.
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  13. Materials and Meaning in Contemporary Sculpture.Sherri Irvin - 2020 - In Kristin Gjesdal, Fred Rush & Ingvild Torsen (eds.), Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 165-186.
    An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...)
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  14. Art, Intention, and Everyday Psychology.Joshua Landy - 2020 - Nonsite 1 (32).
    Responding to a set of essays by Walter Benn Michaels, this paper argues that we can solve some interesting puzzles about intention in photography without the need for any fancy Anscombian footwork. Three distinctions are enough to do the job. First, with Alexander Nehamas, we should separate the empirical photographer from the postulated artist. Next we should mark off generic intentions (such as the intention to make a work of art) from specific intentions (such as the intention to critique capitalism). (...)
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  15. Assemblage du paradigme proto-esthétique aux Amériques.Frédéric Lefrançois - 2020 - Recherches 1 (25):143-153.
    This paper focuses on the conception of an endogenous aesthetic matrix in the Caribbean and the Americas within a decolonial perspective.
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  16. A Dilemma for Modest Actual Intentionalism.Szu-Yen Lin - 2020 - British Journal of Aesthetics 60 (2):165-181.
    Modest actual intentionalism is a major position on interpretation in contemporary analytic aesthetics. The position consists of a disjunctive formulation according to which work-meaning is determined by the author’s intention when such intention succeeds or by non-intentionalistic factors when it fails. I challenge the disjunctive view by presenting a constructive dilemma, the conclusion being that modest actual intentionalism ends up either making non-intentionalistic factors idle or making authorial intent superfluous.
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  17. The World and the Will: On the Problem of Photographic Agency.John Schwenkler - 2020 - Nonsite 32.
    This essay is my contribution to a symposium responding to several papers by Walter Benn Michaels that bring the work of Elizabeth Anscombe to bear on philosophical problems of artistic representation. In it, I take Benn Michaels's side in a dispute with Dominic McIver Lopes over the difference between Anscombe's view of intentional agency and that of Donald Davidson. I also critique Benn Michaels's reading of a difficult passage in section 29 of Anscombe's INTENTION, where she presents the famous case (...)
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  18. "José Matias" de Eça de Queiroz — ou as Reflexões de Um Professor de Filosofia (da Vontade de Saber à Ironia: Um Retrato Oblíquo da Falência do Panlogismo).Eurico Carvalho - 2019 - Portuguese Studies Review (PSR) 27 (2):123-172.
    This paper intends to validate the hermeneutic relevance of three core theses: José Matias (i) is demonstrably an “open work”, (ii) it constitutes a philosophical short story and (iii) it illustrates the failure of panlogism. With regard to the first thesis, it is necessary to concede up front that this interpretation of José Matias does not purport to be unique nor does it encompass the richness of the work’s content. Yet, given the second thesis, the paper intends to defy the (...)
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  19. When Art Can’T Lie.Brandon Cooke - 2019 - British Journal of Aesthetics 59 (3):259-271.
    Pre-philosophically, an artwork can lie in virtue of some authorial intention that the audience comes to accept as true something that the author believes to be false. This thought forces a confrontation with the debate about the relation between the interpretation of a work and the intentions of its author. Anti-intentionalist theories of artwork meaning, which divorce work meaning from the actual author’s intentions, cannot license the judgment that an artwork lies. But if artwork lying is a genuine possibility, then (...)
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  20. Is There a Problem of Writing in Historiography? Plato and the Pharmakon of the Written Word.Natan Elgabsi - 2019 - Metodo. International Studies in Phenomenology and Philosophy 7 (2):225-264.
    This investigation concerns first what Jacques Derrida and Paul Ricœur consider to be «the question of writing» in Plato’s Phaedrus, and then whether their conception of a general philosophical problem of writing finds support in the dialogue. By contrast to their attempts to «determine» the «status» of writing as the general condition of knowledge, my investigation has two objections. (1) To show that Plato’s concern is not to define writing, but to reflect on what is involved in honest and dishonest (...)
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  21. Extreme Intentionalism Modestly Modified.Mitchell Green - 2019 - British Journal of Aesthetics 59 (2):197-201.
    1. On at least one usage of ‘mean’, performing an action that leads someone else to think that P, is not, on its own, sufficient for meaning that P. Nor is performing an action that is intended to get someone to think this. Instead one must make one’s intention overt. Grice’s way of developing this overtness requirement requires audience-directed intentions: for an agent, on this approach, to mean that P, she must perform a publicly accessible action with the intention of (...)
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  22. Imagination Minimalized.Amy Kind - 2019 - British Journal of Aesthetics 59 (2):215-218.
    In Only Imagine, Kathleen Stock defends a theory of fictional content she calls extreme intentionalism. Roughly put, this view holds that the fictional content of a text is determined solely by its author’s intention. What is true in a given work of fiction gets fixed by what the author of that fiction intends a reader to imagine.
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  23. Only Imagine? Not Necessarily.Ruth Lorand - 2019 - British Journal of Aesthetics 59 (2):211-214.
    In her recent book, Only Imagine, Kathleen Stock promotes extreme intentionalism with respect to fictional content. She writes, ‘the fictional content of a particular text is equivalent to exactly what the author of the text intended the reader to imagine’. There are at least three separate points here: the author’s intentions determine the fictional content; the fictional content is identical with the content of what the reader imagines; reading fiction necessarily entails imagining. The first two points are normative; they are (...)
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  24. The Right Way to Play a Game.C. Thi Nguyen - 2019 - Game Studies 19 (1).
    Is there a right or wrong way to play a game? Many think not. Some have argued that, when we insist that players obey the rules of a game, we give too much weight to the author’s intent. Others have argued that such obedience to the rules violates the true purpose of games, which is fostering free and creative play. Both of these responses, I argue, misunderstand the nature of games and their rules. The rules do not tell us how (...)
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  25. Reply by Kathleen Stock.Kathleen Stock - 2019 - British Journal of Aesthetics 59 (2):219-225.
    I am extremely grateful to all commentators for such patient, generous, and stimulating contributions. What follows are some thoughts to enrich the conversation, but these are by no means intended to be definitive answers to the worries they have raised.
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  26. Masks and Monsters: On the Transformative Power of Art.Marina Marren - 2018 - Pli 29:102-112.
    Drawing on texts in psychology, philosophy, and literature the paper argues that art avails us of a distance from ourselves. Art has a potential to change our perspective on monstrosity and to make us question our moral categories and presuppositions. The study focuses on a single painting by Paul Gavarni, Two Pierrots Looking into a Box (1852), which I have discovered holds two images in one representation. I turn to Gavarni's work in order to prompt a literal gestalt shift in (...)
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  27. Hermeneutics.María G. Navarro - 2018 - In Bryan S. Turner (ed.), The Wiley Blackwell Encyclopedia of Social Theory. Wiley-Blackwell. pp. 1052-1055.
    The word έρμηνϵία (ermeneia) means expression and interpretation of a thought, from which the word “hermeneutics” comes. Some authors maintain that the name of the Greek god Hermes subsequently came from the same root. Hermes was the brother of Apollo and Athene and the son of Zeus and Maia, from which it could be deduced that he is paired by family lineage with images of light on the one hand and darkness and opacity on the other. Both metaphors remind us (...)
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  28. Electromecánicas IV - Despliegue y activación de un espacio-tiempo barroco.Renzo Christian Filinich Orozco & Monica Salinero Rates - 2018 - Enclave Sonora Espacio, Editorial Sonec.
    En Electromecánicas IV, – Despliegue y activación de un espacio-tiempo barroco, Mónica Salinero socióloga y Renzo Filinich artista, se sumergen en el trabajo de análisis de la obra de Raúl Díaz, “Electromecánicas IV, poniendo en valor la diferencia conceptual y la diversidad del universo latinoamericano como espacio de creación situado. Inspirados en las teorías de Bolivar Echevarria, discuten la complejidad simbólica que rodea a esta experiencia estética, deteniéndose en los valores y funciones que se encuentran dentro del espectro cultural andino (...)
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  29. The End of The Road.Sean Allen-Hermanson - 2017 - European Journal of American Studies 12 (2).
    -/- The closing paragraph of Cormac McCarthy’s The Road hums with mystery. Some find it suggestive of renewal, though only vaguely. Others contend that it does little to ameliorate the novel’s pessimism. Still others find it offers both lamentation and hopefulness, while some pass it over in silence. As an admirer with a taste for puzzle solving, here I offer a new interpretation revealing a surprisingly optimistic denouement.
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  30. A Framework to Map Approaches to Interpretation.Dina Zoe Belluigi - 2017 - Journal of Aesthetic Education 51 (3):91-110.
    With rare exception, research on approaches to interpretation in teaching and learning has not been extensive, and, in studio learning, it is vastly underresearched. The issue of the student’s intentionality in higher education, as the artist or author of the work, is complex and contentious. While in a dated study, authorial intentionality was found to be a crucial consideration for learning in art making in the United States,1 in criticism, it has been greatly reduced as a criterion of importance,2 which (...)
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  31. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (...)
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  32. In Advance of the Broken Theory: Philosophy and Contemporary Art.Sherri Irvin & Julian Dodd - 2017 - Journal of Aesthetics and Art Criticism 75 (4):375-386.
    We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...)
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  33. Aesthetic Ineffability.Silvia Jonas - 2017 - Philosophy Compass 12 (2):e12396.
    This essay provides an overview of the ways in which contemporary philosophers have tried to make sense of ineffability as encountered in aesthetic contexts. Section 1 sets up the problem of aesthetic ineffability by putting it into historical perspective. Section 2 specifies the kinds of questions that may be raised with regard to aesthetic ineffability, as well as the kinds of answer each one of those questions would require. Section 3 investigates arguments that seek to locate aesthetic ineffability within the (...)
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  34. The Most Overrated Article of All Time?Joshua Landy - 2017 - Philosophy and Literature 41 (2):465-470.
    This year marks the fiftieth anniversary of an essay you have almost certainly read, if you took any class on literary theory in the intervening half-century. The essay in question is “The Death of the Author,” by a brilliant French thinker named Roland Barthes. Barthes had wonderfully illuminating things to say about the structure of narrative, realism, Proust, Racine, photography, and billboards. When he turned his thoughts to authorship, however, his touch temporarily deserted him, and the essay that resulted is (...)
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  35. Art and Belief.Ema Sullivan-Bissett, Helen Bradley & Paul Noordhof (eds.) - 2017 - Oxford University Press.
    Art and Belief presents new work at the intersection of philosophy of mind and philosophy of art. Topics include the cognitive contributions artworks can make, the phenomenon of fictional persuasion, and the nature of aesthetic testimony, and the relation between belief and truth in our experience of art.
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  36. Framing Effects in Museum Narratives: Objectivity in Interpretation Revisited.Anna Bergqvist - 2016 - Royal Institute of Philosophy Supplement 79:295-318.
    Museums establish specific contexts, framings, which distinguish them from viewing the world face-to-face. One striking aspect of exhibition in so-called participatory museums is that it echoes and transforms the limits of its own frame as a public space. I argue that it is a mistake to think of the meaning of an exhibit as either determined by the individual viewer's narrative or as determined by the conception as presented in the museum's ‘authoritative’ narrative. Instead I deploy the concept of a (...)
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  37. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...)
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  38. Wedge: A Cross-Disciplinary Collaboration by Janine Antoni and Jill Sigman.Sherri Irvin - 2016 - In Sondra Bacharach, Jeremy Neil Booth & Siv B. Fjærestad (eds.), Collaborative Art in the Twenty-First Century. Routledge. pp. 166-178.
    In 2012, choreographer and dancer Jill Sigman of jill sigman/thinkdance and visual artist Janine Antoni collaborated to produce Wedge, a live performance at the Albright-Knox Gallery. In this essay, I describe the collaboration and the resulting work and examine the benefits and challenges of the collaboration. The discussion touches on broader issues pertaining to collaboration, co-authorship, artists' intentions, and interpretation.
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  39. Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
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  40. Learning From Fiction and Theories of Fictional Content.Kathleen Stock - 2016 - Teorema: International Journal of Philosophy 35 (3):69-83.
  41. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  42. Grounding Interpretation.Christian Folde - 2015 - British Journal of Aesthetics 55 (3):361-374.
    In this paper I examine the relationship between interpreting a fiction and specifying its content. The former plays a major role in literary studies; the latter is of central concern in the philosophical debate on truth in fiction. After elucidating these activities, I argue that they do not coincide but have interesting interdependencies. In particular, I argue that correct interpretations are metaphysically grounded in fictional content. I discuss this claim in detail and show why it is not in tension with (...)
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  43. Unreadable Poems and How They Mean.Sherri Irvin - 2015 - In John Gibson (ed.), The Philosophy of Poetry. Oxford University Press. pp. 88-110.
    Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...)
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  44. Authorial Declaration and Extreme Actual Intentionalism: Is Dumbledore Gay?William Irwin - 2015 - Journal of Aesthetics and Art Criticism 73 (2):141-147.
    Authorial and artistic declarations would seem to be a boon to interpreters who favor actual intentionalism. However, because they believe there are limits on the power of authors and artists to embody their intentions in their works, moderate actual intentionalists hold that some intentions are irrelevant. Looking closely at authorial declaration about the sexuality of Albus Dumbledore in the Harry Potter novels, I argue in favor of the extreme actual intentionalist position that genuine authorial declarations should not be ignored because (...)
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  45. (2015). Bildkraft und Tatkraft: Zum Verhältnis von ästhetischer Erfahrung und Technik im Anschluss an Cassirer, Langer und Krois.Martina Sauer - 2015 - Kongress-Akten, Deutsche Gesellschaft Für Ästhetik, Bd. 3.
    The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through aesthetic (...)
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  46. Reclaiming Religion: Why Empire Cannot Be Sustained.Alexander Sieber - 2015 - International Journal of Civic, Political, and Community Studies 14 (1):41-47.
    The new orthodoxy of neoliberal thinking has led to a reduction in both freedom and prosperity for the multitude by thrusting forth the modern Empire. By using the phenomenological method, I conclude that this new type of Empire cannot be sustained, because it tries to occupy the same space as the human spirit. Instead of reaching fulfillment, Empire faces inevitable fragmentation. To illustrate my point, I utilize Heidegger’s conception of art.
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  47. Depiction and Intention.Ben Blumson - 2014 - In Resemblance and Representation. Open Book Publishers. pp. 51-66.
    This chapter defends intentionalism about pictorial representation.
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  48. Interpretation and Conversation: A Response to Huddleston.Anthony Jannotta - 2014 - British Journal of Aesthetics 54 (3):371-380.
    The conversation argument for actual intentionalism compares our encounters with artworks to conversations to support the interpretive policy that artists’ intentions should constrain our interpretations of their artworks. Andrew Huddleston argues that intentionalists cannot appeal to conversation, because either the metaphor is inapt or, if the metaphor is more aptly construed , it will be incompatible with the intentionalist’s interpretive policy. I argue that, once constraint is understood properly, Huddleston’s conversational requirements obtain; thus the conversation metaphor is apt. I then (...)
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  49. Mirrors of the Soul and Mirrors of the Brain? The Expression of Emotions as the Subject of Art and Science.Machiel Keestra - 2014 - In Gary Schwartz (ed.), Emotions. Pain and pleasure in Dutch painting of the Golden Age. nai010 publishers. pp. 81-92.
    Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...)
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  50. Memories of Art.William Hirstein - 2013 - Behavioral and Brain Sciences 36 (2):146 - 147.
    [This is a response to a target article in BBS]. Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that (...)
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