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  1. Authenticity in Painting: Remarks on Michael Fried’s Art History.Michael Fried, Robert Pippin, Michel Chaouli, Stefan Andriopoulos, Richard Menke, Carlo Ginzburg, Dragan Kujundzic, Jacques Derrida & J. Hillis Miller - 2005 - Critical Inquiry 31 (3):575.
    My topic is authenticity in or perhaps as painting, not the authenticity of paintings; I know next to nothing about the problem of verifying claims of authorship. I am interested in another kind of genuineness and fraudulence, the kind at issue when we say of a person that he or she is false, not genuine, inauthentic, lacks integrity, and, especially when we say he or she is playing to the crowd, playing for effect, or is a poseur. These are not (...)
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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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  • Rorty and Literature.Serge Grigoriev - 2020 - In Alan R. Malachowski (ed.), A companion to Rorty. Hoboken: Wiley. pp. 411–426.
    This chapter addresses the relationship between Rorty's pragmatist philosophy and his view of literature and literary writing. It begins by examining the relationship between philosophy and literature, construed by Rorty in terms of the opposition between “normal,” professionalized, argument‐centered philosophical discourse and the kind of cultural criticism which emphasizes human finitude and contingency, seeking through the use of irony and literary inventiveness to transform our prevalent visions of what it means to be human. This humanist side of Rorty's argument is (...)
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  • (1 other version)Must it Be Abstract? Hegel, Pippin, and Clark.Martin Donougho - 2007 - Hegel Bulletin 28 (1-2):87-106.
    By comparison with other parts of his philosophy, Hegel'sAestheticshas been slighted by Anglo-American philosophers. All the more welcome then are two recent essays by Robert Pippin, which promise to go well beyond received notions. WithHegel's Idealism, Pippin published what is by any measure one of the most original of recent treatments. Shortly thereafter came a penetrating study of the idea of the modern, which allotted a central role to artistic modernism, and since then he has published various essays actively engaging (...)
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  • If Materialism Is Not the Solution, Then What Was the Problem?Robert Jackson - 2015 - Nordic Journal of Aesthetics 24 (47):111-124.
    What follows is a cursory response to Graham Harman’s article “Materialism is Not the Solution.” It seeks to branch out his conception of ‘form’ and more specifically, ‘aesthetic form’ whilst expanding on Harman’s principal objections to the materialist account of change, and how this may challenge the contemporary aesthetic trajectory of relational encounter: particularly Bourriaud’s Relational Aesthetics. Quite generally, Harman’s Object Oriented Ontology might be understood through two chief aesthetic mechanisms; the contingency of counterfactuals complimented with the preliminary development of (...)
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  • Reality, Fiction, and Make-Believe in Kendall Walton.Emanuele Arielli - 2021 - In Krešimir Purgar (ed.), The Palgrave Handbook of Image Studies. Palgrave-Macmillan. pp. 363-377.
    Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...)
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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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  • Arte e ideología a finales del siglo XIX en Francia: el paisaje pastoral.Daria Saccone - 2009 - Forma 1:127.
    El paisaje pastoral supone el retorno a un tema clásico, pero mientras los impresionistas en los años 60 del siglo XIX proyectaron en el “idilio parisino” las nuevas exigencias de la pequeña y mediana burguesía, que empezaba a tener un papel relevante en la sociedad de la época, algunos pintores anarquistas, por el contrario, adoptaron en los años 80 la figura mítica del idilio pastoral para expresar el malestar respecto a una industrialización feroz y a la alienación del individuo, y (...)
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