86 found
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  1. The Art Instinct: Beauty, Pleasure, & Human Evolution.Denis Dutton - 2009 - Bloomsbury Press.
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
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  2.  1
    The Art Instinct: Beauty, Pleasure, and Human Evolution.Denis Dutton - 2009 - Oxford University Press.
    The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.
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  3.  62
    The Art Instinct: Beauty, Pleasure, and Human Evolution.Denis Dutton - 2010 - Oxford University Press.
    The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.
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  4. Artistic Crimes: The Problem of Forgery in the Arts.Denis Dutton - 1979 - British Journal of Aesthetics 19 (4):302-314.
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  5. Authenticity in Art.Denis Dutton - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 258--274.
     
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  6.  90
    A Naturalist Definition of Art.Denis Dutton - 2006 - Journal of Aesthetics and Art Criticism 64 (3):367–377.
    Aesthetic theoriesmayclaim universality, but they are normally conditioned by the aesthetic issues and debates of their own times. Plato and Aristo- tle were motivated both to account for the Greek arts of their day and to connect aesthetics to their general metaphysics and theories of value. Closer to our time, asNo¨el Carroll observes, the theories of Clive Bell and R.G. Collingwood can be viewed as “defenses of emerging avant-garde practices— neoimpressionism, on the one hand, and the mod- ernist poetics of (...)
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  7. Aesthetics and Evolutionary Psychology.Denis Dutton - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press.
  8. Artistic Crimes.Denis Dutton -
    The concept of forgery is a touchstone of criticism. If the existence of forgeries — and their occasional acceptance as authentic works of art — has been too often dismissed or ignored in the theory of criticism, it may be because of the forger’s special power to make the critic look ridiculous. Awkward as it is, critics have heaped the most lavish praise on art objects that have turned out to be forged. The suspicion this arouses is, of course, that (...)
     
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  9.  35
    The Idea of Creativity.Karen Bardsley, Denis Dutton & Michael Krausz (eds.) - 2009 - Brill.
    Seventeen philosophical thinkers ask: What is creativity? What are the criteria of creativity? Should we assign logical priority to creative persons, processes, or products? How do various forms of creativity relate to different domains of human activity?
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  10.  9
    A Naturalist Definition of Art.Denis Dutton - 2006 - Journal of Aesthetics and Art Criticism 64 (3):367-377.
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  11.  43
    Tribal Art and Artifact.Denis Dutton - 1993 - Journal of Aesthetics and Art Criticism 51 (1):13-21.
    Europeans seeking to understand tribal arts face obvious problems of comprehending the histories, values, and ideas of vastly remote cultures. In this respect the issues faced in understanding tribal art (or folk art, primitive art, traditional art, third or fourth-world art — none of these designations is ideal) are not much different from those encountered in trying to comprehend the distant art of “our own” culture, for instance, the art of medieval Europe. But in the case of tribal or so-called (...)
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  12. Aesthetic Universals.Denis Dutton - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge. pp. 203--214.
  13.  93
    Kant and the Conditions of Artistic Beauty.Denis Dutton - 1994 - British Journal of Aesthetics 34 (3):226-239.
  14.  26
    To Understand It on its Own Terms.Denis Dutton - 1974 - Philosophy and Phenomenological Research 35 (2):246-256.
    We commonly hear it said that a work of art must be understood “on its own terms,” and that phrase is used in other contexts as well; people, especially people very different from ourselves, are said to have to be understood on their own terms. But what is the meaning of the expression “on its/their own terms?” Note that we do not say of every possible object of understanding that it must be understood on its own terms. The statement, “Chemistry (...)
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  15. Mythologies of Tribal Art.Denis Dutton - unknown
    Forty years ago Roland Barthes defined a mythology as those “falsely obvious” ideas which an age so takes for granted that it is unaware of its own belief. An illustration of what he meant can be seen in his 1957 critique of the photographic exhibition, The Family of Man . Barthes declares that the myth it promotes stresses exoticism, complacently projecting a Babel of human diversity over the globe. From this image of diversity a pluralistic humanism “is magically produced: man (...)
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  16. Art Hoaxes.Denis Dutton - unknown
    As much as many other human enterprises, the art world today is fuelled by pride, greed, and ambition. Artists and art dealers hope for recognition and wealth, while art collectors often acquire works less for their intrinsic aesthetic merit than for their investment potential. In such a climate of values and desires, it is not surprising that poseurs and frauds will flourish. For works of painting and sculpture are material objects that derive their often immense monetary value generally from two (...)
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  17.  32
    Art and Sexual Selection.Denis Dutton - 2000 - Philosophy and Literature 24 (2):512-521.
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  18.  43
    Plausibility and Aesthetic Interpretation.Denis Dutton - 1977 - Canadian Journal of Philosophy 7 (2):327 - 340.
    If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances (...)
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  19.  6
    The Forger's Art: Forgery and the Philosophy of Art.Denis Dutton - 1983 - University of California Press, C1983.
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  20. Why Intentionalism Won't Go Away.Denis Dutton - manuscript
    Considering the philosophic intelligence that has set out to discredit it, intentionalism in critical interpretation has shown an uncanny resilience. Beginning perhaps most explicitly with the New Criticism, continuing through the analytic tradition in philosophy, and culminating most recently in deconstructionism, philosophers and literary theorists have kept under sustained attack the notion that authorial intention can provide a guide to interpretation, a criterion of textual meaning, or a standard for the validation of criticism. Yet intentionalist criticism still has avid theoretical (...)
     
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  21. Forgery and Plagiarism.Denis Dutton - manuscript
    FORGERY and PLAGIARISM are both forms of fraud. In committing art forgery I claim my work is by another person. As a plagiarist, I claim another person’s work is my own. In forgery, someone’s name is stolen in order to add value to the wrong work; in plagiarism someone’s work is stolen in order to give credit to the wrong author.
     
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  22. Delusions of Postmodernism.Denis Dutton - manuscript
    That postmodernism is a general cultural mood and a style in art, architecture, and literature is uncontroversial. But does postmodernism present a coherent intellectual doctrine or theory of politics, art, or life? In the discussion which follows, I will concentrate on two aspects of the intellectual pretensions of postmodernism. First, I examine the postmodernist claim that to justify the idea that the postmodern world is characterized by a general indeterminacy of meaning. Next I will look at aspects of the postmodernist (...)
     
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  23.  28
    Book Reviews : Sociological Explanation as Translation. BY STEPHEN P. TURNER. Cambridge: Cambridge University Press, 1980. P. X + 110. $14.96 , $5.95. [REVIEW]Denis Dutton - 1984 - Philosophy of the Social Sciences 14 (4):581-582.
  24. Kitsch.Denis Dutton -
    “Kitsch” has sometimes been used (for example, by Harold Rosenberg) to refer to virtually any form of popular art or entertainment, especially when sentimental. But though much popular art is cheap and crude, it is at least direct and unpretentious. On the other hand, a persistent theme in the history of the usage of “kitsch,” going back to the word’s mid-European origins, is pretentiousness, especially in reference to objects that ape whatever is conventionally viewed as high art. As Arnold Hauser (...)
     
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  25. Book Reviews: H. Gene Blocker, the Aesthetics of Primitive Art.Denis Dutton - 1995 - Journal of Aesthetics and Art Criticism 53 (3):321-322.
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  26. Dare to Think for Yourself.Denis Dutton - unknown
    With Toni Morrison, I acknowledge that what I think and do is already inscribed on my teaching, and all my work. Indeed, we do "teach values by having them," or at least cannot but reveal our values in the classroom in one manner or another. This is not a voluntary option for those of us who teach in higher education or anywhere else: it is a permanent feature of the human condition. I sit at my computer overlooking a grass commons (...)
     
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  27. How Can Values Be Taught in the University?Denis Dutton - manuscript
    Nevertheless, explicitly or implicitly, the university has always taught (by which I mean examined, evaluated, posited, reinforced) values, and I should think will always follow or circle the track of its origins. When higher education leapt or strutted out of the doors of the church (whether by license from the crown, permission of the diocese, or charters from guilds) it was extricating itself from the church's charge, where monastic schools and libraries were centers of learning and most students were expected (...)
     
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  28. Jean Baudrillard.Denis Dutton - 1990 - Philosophy and Literature 14:234-38.
     
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  29. Pożytki z fikcji.Denis Dutton - 2009 - Studia Philosophica Wratislaviensia:17-26.
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  30. The Uses Of Fiction.Denis Dutton - 2009 - Studia Philosophica Wratislaviensia 4 (3):17-26.
    In this paper the author argues that a chief problem of the evolutionary aesthetics is to reverse-engineer the manifestly human urge to both engage in creation of fictional worlds and narratives, and enjoy them. He stresses that any solution to this problem must cope with the fact that it is relatively easy to observe that works of fiction help us to cope with the world, increase our capacity for cooperation, or comfort the sick, but such explanations will remain empty unless (...)
     
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  31. What Are Editors For?Denis Dutton - 1996 - Philosophy and Literature 20:551-566.
     
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  32. Which Came First, the Language or its Grammar.Denis Dutton - 1998 - Philosophy and Literature 22:261-269.
     
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  33.  33
    Darwinism Defended.Denis Dutton - 1984 - Teaching Philosophy 7 (2):173-174.
  34. Literary Theory and Intellectual Kitsch.Denis Dutton - 1992 - Literature & Aesthetics 2:23-34.
  35. Han Van Meegeren.Denis Dutton - manuscript
    The most notorious and celebrated forger of the twentieth century, Han van Meegeren (1889-1947), was born in the Dutch town of Deventer. He was fascinated by drawing as a child, and pursued it despite his father’s disapproval, sometimes spending all his pocket money on art supplies. In high school he was able finally to receive professional instruction, and went on to study architecture, according to his father’s wishes. In 1911 he married Anna de Voogt. His artistic talents were recognized when (...)
     
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  36. The Experience of Art is Paradise Regained: Kant on Free and Dependent Beauty.Denis Dutton - manuscript
    In the Critique of Judgment, Kant presents what is possibly the most powerful aesthetic theory ever devised. It is not the clearest, and even when it comes clear, it is only after much toil. But its contradictions and complexities — apparent or real — reflect and disclose to great depth the very complexities and paradoxes that infect our artistic and aesthetic lives. Later aestheticians have with greater sophistication directed attention to the social and historical aspects of institutionalised fine arts, but (...)
     
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  37.  23
    A Darwinian Theory of Beauty.Denis Dutton - 2014 - Philosophy and Literature 38 (1A):A314-A318.
  38. Why Intentionalism Won't Go Away.Anthony J. Cascardi & Denis Dutton - unknown
    Considering the philosophic intelligence that has set out to discredit it, intentionalism in critical interpretation has shown an uncanny resilience. Beginning perhaps most explicitly with the New Criticism, continuing through the analytic tradition in philosophy, and culminating most recently in deconstructionism, philosophers and literary theorists have kept under sustained attack the notion that authorial intention can provide a guide to interpretation, a criterion of textual meaning, or a standard for the validation of criticism. Yet intentionalist criticism still has avid theoretical (...)
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  39.  26
    A Hanging Judge.Denis Dutton - 2002 - Philosophy and Literature 26 (1):224-238.
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  40.  26
    Mad About Flowers.Denis Dutton - 2000 - Philosophy and Literature 24 (1):249-260.
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  41.  59
    The Pleasures of Fiction.Denis Dutton - 2004 - Philosophy and Literature 28 (2):453-466.
  42.  26
    Fire is Hot. Hunger is Bad. Babies Are Good.Denis Dutton - 1994 - Philosophy and Literature 18 (1):199-210.
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  43.  20
    Bookmarks.Denis Dutton - 1990 - Philosophy and Literature 14 (2):446-454.
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  44.  20
    Beauty Is Fun and Fun Beauty —or Is That All Ye Need to Know?Denis Dutton - 1992 - Philosophy and Literature 16 (2):432-437.
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  45.  28
    Understanding Human Action.Denis Dutton - 1984 - Philosophical Books 25 (1):38-41.
  46.  25
    The Empire Writes Back, with a Vengeance.Denis Dutton - 1995 - Philosophy and Literature 19 (1):198-205.
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  47.  29
    Darwin and Political Theory.Denis Dutton - 2003 - Philosophy and Literature 27 (1):241-254.
    Evolutionary psychology has much to say about the origins of human political structures. Paul Rubin argues persuasively that given our hard-wired sociality, democracy is the best, most stable political arrangement we can hope for. He is correct in this view.
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  48.  22
    What's Wrong with Philosophers?Denis Dutton - 1993 - Philosophy and Literature 17 (1):185-192.
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  49.  17
    Decontextualized Crab; Nietzsche Dreams of Detroit.Denis Dutton - 1992 - Philosophy and Literature 16 (1):239-249.
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  50. Tribal Art.Denis Dutton - manuscript
    Tribal art , also termed ethnographic art or, in an expression seldom used today, primitive art , is the art of small-scale nonliterate societies. Some of the traditional artifacts to which the term refers may not be art in any obvious European sense, and many of the cultures where they occur may not strictly-speaking be tribal in social structure. The rubric nevertheless persists because the arts produced by small-scale cultures share significant elements in common. The tribal arts which have gained (...)
     
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