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  1. Thomas Kuhn, the Image of Science and the Image of Art: The First Manuscript of Structure.J. C. Pinto de Oliveira - 2017 - Perspectives on Science 25 (6):746-765.
    Thomas Kuhn's philosophy of science, which he developed by focusing on physics, was later applied by other authors to virtually all areas or disciplines of culture. What interests me here, however, is the movement in the opposite direction: the role that one of these disciplines, history of art, played in the conception of Kuhn'stheoryof science.In a 1969 article, his only published text concerning science and art, Kuhn makes a brief and intriguing observation about The Structure of Scientific Revolutions. He says (...)
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  • Novelty and revolution in art and science: The connection between Kuhn and Cavell.Vasso Kindi - 2010 - Perspectives on Science 18 (3):284-310.
    Both Kuhn and Cavell acknowledge their indebtedness to each other in their respective books of the 60s. Cavell in (Must We Mean What We Say (1969)) and Kuhn in (The Structure of Scientific Revolutions 1962). They were together at Berkeley where they had both moved in 1956 as assistant professors after their first encounter at the Society of Fellows at Harvard (Kuhn 2000d, p. 197). In Berkeley, Cavell and Kuhn discovered a mutual understanding and an intellectual affinity. They had regular (...)
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  • Wittgenstein and the genesis of neo-pragmatism in American thought.John Erik Hmiel - 2016 - History of European Ideas 42 (1):131-149.
    SUMMARYWhile commentators have noted that the revival of pragmatism in recent decades can be understood in the context of a larger turn towards anti-foundational thought, they have largely ignored the important and complicated role that Ludwig Wittgenstein's ideas about foundationalism played in that revival. By tracing Wittgenstein's influence on the philosophers Stanley Cavell and Thomas Kuhn, the author first suggests that the revival of neo-pragmatism is better understood in the context of mid-century analytic philosophy they inherited, as well as Wittgenstein's (...)
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  • Scetticismo ed espressione nella filosofia dell'arte.Davide Quattrocchi - unknown
    The purpose of this research is to show the relevance of the notion of 'skepticism' for the philosophy of art. From Modernism on, art is plagued by a lack of confidence in the traditional conventions and by an instability of the criteria governing the membership of an object to the category of 'art'. The notion of 'skepticism' is linked to the concept of 'expression': if art faces a form of skepticism, then the emphasis on the personal expression of artists and (...)
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