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Cynthia A. Freeland [35]Cynthia Freeland [33]Cynthia Anne Freeland [1]
  1.  16
    Essays on Aristotle's Ethics.Cynthia A. Freeland - 1983 - Noûs 17 (4):701-706.
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  2. Art and Moral Knowledge.Cynthia A. Freeland - 1997 - Philosophical Topics 25 (1):11-36.
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  3. But is it art?: an introduction to art theory.Cynthia A. Freeland - 2001 - New York: Oxford University Press.
    From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that (...)
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  4.  74
    Portraits and persons: a philosophical inquiry.Cynthia A. Freeland - 2010 - New York: Oxford University Press.
    Featuring more than fifty halftones, this is an exhilarating philosophical exploration of portraiture that highlights its important contribution to the complex ...
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  5. Aristotle on the Sense of Touch.Cynthia Freeland - 1995 [1992] - In Martha Craven Nussbaum & Amélie Rorty (eds.), Essays on Aristotle's De anima. New York: Oxford University Press. pp. 227--248.
     
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  6.  36
    Aristotle’s Theory of the Will.Cynthia A. Freeland & Anthony Kenny - 1981 - Philosophical Review 90 (1):159.
  7. Scientific Explanation and Empirical Data in Aristotle's "Meteorology".Cynthia A. Freeland - 1990 - Oxford Studies in Ancient Philosophy 8:67.
  8.  31
    Evaluating Art.Cynthia A. Freeland - 1992 - Philosophical Review 101 (2):486.
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  9. Feminist Frameworks for Horror Films.Cynthia A. Freeland - 1996 - In Noel Carroll & David Bordwell (eds.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press. pp. 195--218.
    The horizon for feminists studying horror films appears bleak. Since _Psycho_'s infamous shower scene, the big screen has treated us to Freddie's long razor-nails emerging between Nancy's legs in the bathtub (_A Nightmare on Elm Street I_), De Palma's exhibitionist heroine being power-drilled into the floor (_Body Double_), and Leather-face hanging women from meat hooks (_The Texas Chain Saw Massacre_). Even in a film with a strong heroine like _Alien_, any feminist point is qualified by the monstrousness of the alien (...)
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  10.  72
    Aristotelian actions.Cynthia A. Freeland - 1985 - Noûs 19 (3):397-414.
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  11.  30
    Comments on Mohan Matthen's ‘The Pleasure of Art’.Cynthia A. Freeland - 2017 - Australasian Philosophical Review 1 (1):29-39.
    ABSTRACTThis paper examines Mohan Matthen's account of aesthetic pleasure. The first part explores implications of Matthen's notion of ‘fit’ between features of art objects and our pleasurable contemplation of them. Through historical comparisons with Plato and Dewey, I challenge his claim not to be offering a theory of aesthetic norms. The second part of my paper sketches how Matthen might address two important problems of contemporary aesthetics: the first concerning interpretation, and the second concerning genres of art that evoke negative (...)
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  12. Feminist Interpretations of Aristotle.Cynthia A. Freeland - 2000 - Philosophical Quarterly 50 (198):112-114.
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  13.  14
    Philosophy and Film.Cynthia A. Freeland & Thomas E. Wartenberg (eds.) - 1995 - Routledge.
    _Philosophy and Film_ moves from broad theoretical reflections on film as a medium to concrete examinations of individual films.
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  14.  94
    Aristotle on Possibilities and Capabilities.Cynthia A. Freeland - 1986 - Ancient Philosophy 6:69-89.
  15. Portraits in painting and photography.Cynthia Freeland - 2007 - Philosophical Studies 135 (1):95 - 109.
    This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...)
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  16.  23
    Explaining the Uncanny in The Double Life of Véronique.Cynthia Freeland - 2001 - Film and Philosophy 4:34-50.
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  17.  82
    Feminism and Ideology in Ancient Philosophy.Cynthia A. Freeland - 2000 - Apeiron 33 (4):365 - 406.
  18.  32
    Moral Virtues and Human Powers.Cynthia A. Freeland - 1982 - Review of Metaphysics 36 (1):3 - 22.
    MORAL virtues, as described in Aristotle's Nicomachean Ethics, bear certain important similarities to such human capacities as knowledge of medicine or artistic skill, as described in the Metaphysics. First, all of these qualities must be developed from inborn capacities, such as the senses. Whereas people are born with the capacities of vision and touch, they must acquire the abilities to use geometrical theorems, build houses, or act courageously. Second, both sorts of qualities--skills or knowledge on the one hand, virtue on (...)
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  19.  32
    Chapter 3. Aristotle on Perception, Appetition, and Self-Motion.Cynthia A. Freeland - 2017 - In Mary Louise Gill & James G. Lennox (eds.), Self-Motion: From Aristotle to Newton. Princeton University Press. pp. 35-64.
  20. Against Raunchy Women's Art.Cynthia Freeland - 2009 - In Curtis Carter (ed.), Art and Social Change. International Association for Aesthetics. pp. 56-72.
    This article criticizes what I call "Raunchy" feminist art by employing discussions of pornography and objectification from Eaton and Nussbaum. Artists considered include Carolee Schneeman, Cindy Sherman, Lisa Yuskavage, and Jenny Saville. The article includes by citing examples of feminist art dealing with erotic material in a more productive manner: Eija-Liisa Ahtila, Kiki Smith, and Marlene Dumas.
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  21. Is analytic philosophy the cure for film theory?Cynthia A. Freeland, Thomas E. Wartenberg, Richard Allen, Murray Smith, Noël Carroll & Oxford Clarendon - 1999 - Philosophy of the Social Sciences 29 (3):416-440.
  22.  11
    The Role of Cosmology in Plato's Philosophy.Cynthia Freeland - 2006 - In Hugh H. Benson (ed.), A Companion to Plato. Malden, MA, USA: Blackwell. pp. 199–213.
    This chapter contains sections titled: Introduction Pre‐Socratic Cosmologies and the Phaedo The Soul and the Universe in the Phaedrus Timaeus Later Developments Note.
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  23.  16
    Orientalism Inside/Out: The Art of Soody Sharifi.Cynthia Freeland - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 347-367.
    "Orientalism" is a term made prominent by critic Edward Said in his 1978 book of that title. . . . Said specifically used the term to designate a field of self-constituted experts who proposed to explain the Orient to the West. . . . This essay explores the visual artwork of Soody Sharifi who left Iran before the Islamic Revolution of 1979, but returns to photograph women and girls. After a trip back to Iran in 1999, she began a self-portrait (...)
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  24.  17
    Eryximachus' Speech and Presocratic Thought: Love as Cosmic Harmony.Cynthia Freeland - 2013 - Norsk Filosofisk Tidsskrift 48 (1):88-99.
    There are some indications within the Symposium that Socrates will learn and describe the real truth about Love from his wise mentor Diotima. This leaves unclear why Plato decided to include the other speeches developed within the dialogue’s elaborate structure. Can we take anything seriously from these other speeches? This paper examines the doctor Eryximachus’ speech with the general hypothesis that we can actually learn from his medical metaphors about love as a healthy harmony.
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  25.  14
    Film theory.Cynthia Freeland - 1998 - In Alison M. Jaggar & Iris Marion Young (eds.), A companion to feminist philosophy. Malden, Mass.: Blackwell. pp. 353–360.
    Feminist philosophy of film is a young field that is rapidly growing but that has as yet no distinct disciplinary presence within philosophy. Articles by feminist philosophers on film began appearing in aesthetics journals and anthologies in English only in the late 1980s and 1990s. In film studies, as in aesthetics more generally, disciplinary boundaries are fluid. Writers from many fields – literature, art, communications, cultural studies – make critical contributions on film, addressing philosophical issues and drawing upon philosophical theories. (...)
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  26.  25
    Art Scents: Exploring the Aesthetics of Smell and the Olfactory Arts.Cynthia Freeland - 2022 - Journal of Aesthetics and Art Criticism 80 (2):248-251.
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  27.  33
    Echo Objects: The Cognitive Work of Images.Cynthia Freeland - 2009 - Philosophical Psychology 22 (3):389-393.
  28. The Routledge Companion to Philosophy and Film edited by livingston, paisley and carl plantinga.Cynthia Freeland - 2010 - Journal of Aesthetics and Art Criticism 68 (3):301-303.
     
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  29.  20
    Aesthetics and the Senses: Introduction.Cynthia Freeland - 2012 - Essays in Philosophy 13 (2):399-403.
  30.  57
    A New Question about Color.Cynthia A. Freeland - 2017 - Journal of Aesthetics and Art Criticism 75 (3):231-248.
    Philosophers of art have advanced our understanding of the role of color in realistic representation in painting. This article addresses a new question about how color functions expressively in art. I sketch some ways to answer this question, using examples of paintings by Mark Rothko and light art installation works by James Turrell and Olafur Eliasson.
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  31.  63
    Art theory: a very short introduction.Cynthia A. Freeland - 2001 - Oxford: Oxford University Press.
    This work discusses blood, beauty, culture, money, sex, web sites, and research on the brain's role in perceiving art.
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  32.  71
    Bill Viola and the Video Sublime.Cynthia A. Freeland - 1999 - Film-Philosophy 3 (1).
    Bill Viola _Reasons for Knocking at an Empty House, Writings 1973-1994_ Edited by Robert Violette in collaboration with the author Introduction by Jean-Christophe Ammann Thames and Hudson, 1995/reprinted 1998 ISBN: 0-500-27837-7 301 pp.
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  33.  19
    Commentary on Modrak.Cynthia Freeland - 1986 - Proceedings of the Boston Area Colloquium of Ancient Philosophy 2 (1):237-241.
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  34.  11
    Commentary on Rosen.Cynthia Freeland - 1985 - Proceedings of the Boston Area Colloquium of Ancient Philosophy 1 (1):289-295.
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  35.  15
    Danto and Art Criticism.Cynthia Freeland - 2008 - Contemporary Aesthetics 6.
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  36.  11
    Empiricism and the Philosophy of Film.Cynthia Freeland - 2004 - Film and Philosophy 8:154-171.
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  37.  8
    Erens, Patricia, Ed. Issues in Feminist Film Criticism.Cynthia Freeland - 1992 - Journal of Aesthetics and Art Criticism 50 (4):347-348.
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  38.  31
    Emma's Pensive Meditations.Cynthia Freeland - 2018 - In Eva Dadlez (ed.), Jane Austen's Emma: Philosophical Perspectives. New York, USA: Oxford University Press. pp. 55-83.
  39.  3
    Feminist Interpretations of Aristotle.Cynthia A. Freeland (ed.) - 1998 - Pennsylvania State University Press.
    Aristotle still influences our abstract thinking, our search for principles, and our reflections on virtue, nature, essence, and sexual difference. Feminists here concede that they too philosophize within the tradition founded by the ancient Greeks. The contributors to this volume enter into new, creative, and subtle dimensions of inquiry about Aristotle from a broader feminist perspective.
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  40.  39
    Film theory and philosophy.Cynthia A. Freeland - 2000 - Philosophical Review 109 (1):144-147.
    This substantial book presents essays by nineteen authors exploring intersections between film theory and philosophy on topics of representation, authorship, ideology, aesthetics, and emotion. The editors explain that film studies has reached a crisis of method after a growth period founded on structural linguistics, psychoanalysis, and Continental philosophy. They wish to alter this foundation and “give momentum to work in an analytic vein”, which requires them to correct the misconception of analytic philosophy in film studies as narrow and conservative, a (...)
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  41. Horror and natural evil in The plague.Cynthia A. Freeland - 2023 - In Peg Brand Weiser (ed.), Camus's _The Plague_: Philosophical Perspectives. New York, US: Oxford University Press.
     
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  42. Horror and reality: The slasher's blood lust.Cynthia A. Freeland - 2003 - In Steven Jay Schneider & Daniel Shaw (eds.), Dark Thoughts: Philosophic Reflections on Cinematic Horror. Scarecrow Press.
     
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  43.  12
    Nearer Means Bigger: Artistic imitations anf pleasure- illusions in Republic IX, X and the Philebus.Cynthia Freeland - 2008 - Norsk Filosofisk Tidsskrift 43 (2):137-147.
  44.  20
    On Being Stereoblind in an Era of 3D Movies.Cynthia Freeland - 2012 - Essays in Philosophy 13 (2):550-576.
    I happen to have a visual impairment known as strabismus, which means that the information from my eyes is not successfully fused in my brain, so I lack stereoscopic vision. Hence I was surprised to find I could see some depth effects of recent 3D films such as Wim Wenders’s Pina. This experience has prompted me to explore both further information about binocular vision and various disputes about the aesthetic merits of 3D films. My paper takes up the following topics: (...)
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  45.  37
    Philosophers.Cynthia Freeland - 2011 - The Philosophers' Magazine 55 (55):52-59.
    “The contents of a photograph are not facts, nor reality, nor truth. They are a means we have created to extend our way of seeing on a search for truth.”.
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  46.  6
    Philosophers.Cynthia Freeland - 2011 - The Philosophers' Magazine 55:52-59.
    “The contents of a photograph are not facts, nor reality, nor truth. They are a means we have created to extend our way of seeing on a search for truth.”.
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  47.  8
    Plato’’s Philebus: Pleasure, Imagination, and Poetry.Cynthia Freeland - 2007 - Norsk Filosofisk Tidsskrift 42 (1-2):54-62.
  48.  34
    Revealing Gendered Texts.Cynthia A. Freeland - 1991 - Philosophy and Literature 15 (1):40-58.
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  49.  31
    Reply to Aurand.Cynthia A. Freeland & Thomas E. Wartenberg - 1998 - Film-Philosophy 2 (1).
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  50.  24
    Selections from S the naked and the undead.Cynthia Freeland - manuscript
    The laboratory creation scene in Branagh’s film is brilliant….Even more frenzied and overwrought than Whale’s, Branagh’s creation scene is filmed with dozens of quick cuts, each shot full of movement across the frame. Victor races along his attic hall, cape flying before he discards it to appear bare-chested and vigorous. While pulleys move, bottles clank, and blue volts of electricity rise in glass Tesla tubes, the naked body on the gurney is raised into a copper vat. Electric eels dispense their (...)
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