Results for 'Architecture, End of Art, Hegel, Hugo, Notre-Dame de Paris'

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  1.  58
    Hugo, Hegel, and Architecture.Jose Luis Fernandez - 2021 - Journal of Comparative Literature and Aesthetics 44 (1):153-163.
    This essay aims to contribute comparative points of contact between two influential figures of nineteenth century aesthetic reflection; namely, Victor Hugo’s artful considerations on architecture in his novel Notre-Dame de Paris and G.W.F. Hegel’s philosophical appraisal of the artform in his Lectures on Fine Art. Although their individual views on architecture are widely recognized, there is scant comparative commentary on these two thinkers, which seems odd because of the relative convergence of their historically situated observations. Owing to (...)
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  2. The End of Art: Hegel’s Appropriation of Artistotle’s Nous.Stephen Snyder - 2006 - Modern Schoolman 83 (4):301-316.
    This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...)
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  3. "And Why Not?" Hegel, Comedy, and the End of Art.Lydia L. Moland - 2016 - Verifiche: Rivista Trimestrale di Scienze Umane (1-2):73-104.
    Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose their (...)
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  4. THE END OF ART AND PATOČKA's PHILOSOPHY OF ART.Josl Jan - 2016 - HORIZON. Studies in Phenomenology 1 (1):232-246.
    In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek (...)
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  5. Hegel and Semiotics: Beyond the End of Art.William D. Melaney - 2016 - In K. Bankov (ed.), New Semiotics: Between Tradition and Innovation Proceedings of the Twelfth World Congress of Semiotics. New Bulgarian University. pp. 10 pages.
    This paper argues that Hegel attempts to appropriate the irreversible aspects of Romantic aesthetics in four ways: (i) Hegel radicalizes Kantian aesthetics on the basis of a basically textual approach to sublime experience that opens up the question of community as a philosophical one; (ii) without demoting classical conceptions of art, Hegel privileges Romantic conceptions that demonstrate the ascendancy of sign over symbol in a spiraling chain; (iii) Hegel laments the fate of art in the triumph of Romantic subjectivism but (...)
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  6.  79
    Not-I/Thou: The Other Subject of Art and Architecture.Gavin Keeney - 2014 - Cambridge Scholars Press.
    Not-I/Thou: The Other Subject of Art and Architecture is a series of essays delineating the gray areas and black zones in present-day cultural production. Part One is an implicit critique of neo-liberal capitalism and its assault on the humanities through the pseudo-scientific and pseudo-empirical biases of academic and professional disciplines, while Part Two returns to apparent lost causes in the historical development of modernity and post-modernity, particularly the recourse to artistic production as both a form of mnemonics and periodic (and (...)
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  7.  76
    Reason and Revelation: Absolute Agency and the Limits of Actuality in Hegel.Jeffrey Reid - 2017 - Symposium: Canadian Journal of Continental Philosophy/Revue canadienne de philosophie continentale 21 (1).
    Contemporary reluctance to consider any complicity between philosophy and religion has led to an inability to consider, in Hegel studies, how the revelatory agency of the Absolute necessarily complements the narrative of human reason. According to Hegel, reason alone can do no more than end in the endless limitations of actuality, in the infinite approximations of a moral summum bonum and in the ad infinitum strivings for concrete political freedom. Recognizing where revelatory agency occurs in Hegel’s Science allows us to (...)
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  8.  43
    The Intersubjective Community of Feelings: Hegel on Music.Adriano Kurle - 2017 - Hegel y El Proyecto de Una Enciclopedia Filosófica: Comunicaciones Del II Congreso Germano-Latinoamericano Sobre la Filosofía de Hegel.
    The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level of (...)
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  9. Hegel's Architecture.David Kolb - 2007 - In Stephen Houlgate (ed.), Hegel and the Arts. Northwestern University Press.
    "The first of the particular arts . . . is architecture." (A 13.116/1.83)1 For Hegel, architecture stands at several beginnings. It is the art closest to raw nature. It is the beginning art in a progressive spiritualization that will culminate in poetry and music. The drive for art is spirit's drive to become fully itself by encountering itself; art makes spirit's essential reality present as an outer sensible work of its own powers.2 (A 13.453/1.351) If Hegel's narrative of the arts (...)
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  10.  48
    The End Of Art Revisited: A Response To Kalle Puolakka.Hans Maes - 2005 - Postgraduate Journal of Aesthetics 2 (3).
    In ‘The End of Art: A Real Problem or Not Really a Problem?’ I raised some questions about Arthur Danto’s famous ‘end of art’ thesis. A largely polemical paper, it was intended as an invitation to further discussion, and Kalle Puolakka has now taken up this invitation in ‘Playing The Game After The End of Art’. I thank him for his many insightful remarks. Critical comments are typically more interesting and helpful than simple praise, and Puolakka’s comments are no exception. (...)
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  11. Atmospheric Architectures: The Aesthetics of Felt Spaces.Gernot Böhme - 2017 - Bloomsbury.
    There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised by (...)
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  12.  89
    The End Of Art: A Real Problem Or Not Really A Problem?Hans Maes - 2004 - Postgraduate Journal of Aesthetics 1 (2):59-68.
    In 1984, Arthur Danto wrote an article with the telling title ‘The End of Art.’ Just a few years earlier, Richard Rorty had declared the end of philosophy and Michel Foucault, the end of politics. A few years later, Francis Fukuyama was to declare the end of history. So, on the face of it, Danto’s thesis fits in nicely with the ‘endism’ that was popular in the 1980s. In important ways, however, I believe it also stands out.
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  13. Intuiciones Sobre la Noción de Obra Del Arte.Paulo Vélez León - 2012 - In Vélez León Paulo & Pacurucu Hernán (eds.), Políticas al borde. Una investigación estética sobre el arte contemporáneo cuencano en los discursos políticos actuales. Redesep. pp. 25-56.
    Algunas de las preguntas fundamentales de la filosofía del arte son: 1) ¿Qué es una obra de arte?, 2) ¿Qué es Arte?, 3) ¿Qué es el arte? Responderlas es determinar el sentido del arte. Este tipo de preguntas están planteadas bajo la fórmula ¿Qué es X?, es decir, preguntas en las cuales en lo simple esta lo complejo, preguntas en donde lo simple no quiere decir que sean sencillas; son preguntas que traen dentro de si su naturaleza y carácter metafísico-ontológico-gnoseológico, (...)
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  14. Individual Style After The End Of Art.Regina Wenninger - 2005 - Postgraduate Journal of Aesthetics 2 (3):105-115.
    In The Transfiguration of the Commonplace (1981)1 Arthur Danto construes individual style as something “given” that belongs to the artist “essentially” and “inseparably.” By contrast, his theory of the end of art, set forth in After the End of Art (1997) and elsewhere,2 suggests the liberation of artists from any stylistic commitments. How do these two theories go together? Can there be individual styles after the end of art? Examining the compatibility between Danto’s end of art thesis and his essentialist (...)
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  15.  22
    Arthur Danto and the End of Art.Raquel Cascales - 2019 - Newcastle upon Tyne, Reino Unido: Cambridge Scholar Publishing.
    To get a comprehensive understanding of the core concept of “the end of art”, this book analyses the intellectual trajectory of Arthur Danto, highlighting his successive achievements in philosophy of action, philosophy of history and philosophy of art. If, as Danto says, everything is extensively associated with everything else, it is impossible to avoid putting the philosophy of art in relation with his whole philosophical system. -/- .
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  16.  40
    O Fim Da Arte Como Um Começo.Rachel Cecília de Oliveira - 2014 - Redescrições 5 (2).
    O artigo interpreta a teoria acerca do fim da arte de Arthur Danto, apontando, ao final, críticas à proposta do filósofo, sem esquecer de mostrar em que medida a teoria se mostra frutífera para pensar a arte contemporânea.The paper interprets the theory about the end of art Arthur Danto, pointing at the end, criticism of the proposal of the philosopher, not forgetting to show to what extent the theory proves fruitful for thinking about contemporary art.
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  17. Precis of Games: Agency as Art.C. Thi Nguyen - manuscript
    Games are a distinctive form of art — and very different from many traditional arts. Games work in the medium of agency. Game designers don’t just tell stories or create environments. They tell us what our abilities will be in the game. They set our motivations, by setting the scoring system and specifying the win-conditions. Game de-signers sculpt temporary agencies for us to occupy. And when we play games, we adopt these designed agencies, submerging ourselves in them, and taking on (...)
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  18.  44
    The Development of the Sense of 'the End of Art’ in Arthur Danto.Raquel Cascales - 2018 - Rivista di Estetica 68 (2):131-148.
    The striking title The End of Art managed to draw attention to the philosophical work of Arthur Danto. However, the lack of a systematic development which could support this thesis made him face harsh criticism. However, strong foundations for his statements can be deduced from his writings. In this paper, I analyse how to understand the thesis of the ‘end of art’. It should be approached not as a monolitical notion but as a complex concept that combines three different senses: (...)
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  19. Le Père Henri Bosmans sj (1852-1928), historien des mathématiques : actes des Journées d’études organisées les 12 et 13 mai 2006 au Centre interuniversitaire d’études des religions et de la laïcité de l’Université libre de Bruxelles et le 15 mai 2008 aux Facultés universitaires Notre-Dame de la Paix à Namur.Michel Hermans & Jean-François Stoffel - 2010 - Académie royale de Belgique.
    VAN PRAAG (Paul), Introduction : le Père Henri Bosmans, histo­rien des mathématiques (pp. 7-16). SAUVAGE (Pierre), Notice biographique du Père Henri Bosmans (pp. 17-25). HERMANS (Michel), Henri Bosmans : sa formation et ses réseaux de rela­tions (pp. 27-72). DELANGHE (Richard), Quelques aspects de la vie et de l’œuvre de Paul Mansion (1844-1919) (pp. 73-82). BRIGAGLIA (Aldo), Saccheri vu par Corrado Segre en Italie et par Mansion et Bosmans en Belgique / traduit de l’italien par Bruna GAINO et Patricia RADELET-DE GRAVE (...)
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  20. Wittgenstein, Lao Tzu and Chuang Tzu: The Art of Circumlocution.Robert Elliott Allinson - 2007 - Asian Philosophy 17 (1):97 – 108.
    Where Western philosophy ends, with the limits of language, marks the beginning of Eastern philosophy. The Tao de jing of Laozi begins with the limitations of language and then proceeds from that as a starting point. On the other hand, the limitation of language marks the end of Wittgenstein's cogitations. In contrast to Wittgenstein, who thought that one should remain silent about that which cannot be put into words, the message of the Zhuangzi is that one can speak about that (...)
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  21.  97
    La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel.Carlos Vanegas - 2016 - Revista Estudios de Filosofía:33-55.
    Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, (...)
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  22. Philosophy & Architecture.Tomás N. Castro & Maribel Mendes Sobreira (eds.) - 2016 - Centro de Filosofia da Universidade de Lisboa.
    Philosophy & Architecture special number of [email protected] (International eJournal) 5 | 2016 edited by Tomás N. Castro with Maribel Mendes Sobreira Centro de Filosofia da Universidade de Lisboa ISSN 2182-4371.
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  23.  80
    Oldest Systematic Program of German Idealism: Translation and Notes.Daniel Fidel Ferrer, Georg Wilhelm Friedrich Hegel, Friedrich Wilhelm Joseph Schelling & Friedrich Hölderlin - 2021 - 27283 Verden, Germany: Kuhn von Verden Verlag.
    This book’s goal is to give an intellectual context for the following manuscript. -/- Includes bibliographical references and an index. Pages 1-123. 1). Philosophy. 2). Metaphysics. 3). Philosophy, German. 4). Philosophy, German -- 18th century. 5). Philosophy, German and Greek Influences Metaphysics. I. Hegel, Georg Wilhelm Friedrich -- 1770-1831 -- Das älteste Systemprogramm des deutschen Idealismus. II. Rosenzweig, Franz, -- 1886-1929. III. Schelling, Friedrich Wilhelm Joseph von, -- 1775-1854. IV. Hölderlin, Friedrich, -- 1770-1843. V. Ferrer, Daniel Fidel, 1952-. [Translation from (...)
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  24.  81
    Rezension zu Brendan Theunissen: Hegels Phänomenologie als metaphilosophische Theorie. Hegel und das Problem der Vielfalt der philosophischen Theorien. Eine Studie zur systemexternen Rechtfertigungsfunktion der Phänomenologie des Geistes. Hegel-Studien, Beiheft 61. Meiner: Hamburg 2014, 356 S., ISBN: 978-3-7873-2527-6. [REVIEW]Michael Lewin - 2020 - Coincidentia. Zeitschrift für Europäische Geistesgeschichte 11 (1):292-301.
    [The review is in German] Theunissen has developed an interesting account of metaphilosophy that–as a discipline–does not start in 1960s, but already and especially with Kant, Fichte and Hegel. The constant growth of philosophical theories around 1800 (what Koselleck called “Sattelzeit”) made metaphilosophical constructions necessary. He reads–and is not the first author who does so–Hegel’s Phenomenology of Spirit as a metaphilosophical theory. Although I like and share many ideas with Theunissen, there are three objections that I raise in my review: (...)
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  25.  52
    Playing The Game After The End Of Art: Comments For Hans Maes.Kalle Puolakka - 2005 - Postgraduate Journal of Aesthetics 2 (1):12-19.
    In his philosophy of art history, Arthur C. Danto claims that in the 1960 ́s the master narrative of art had come to an end, and that we had reached the end of art. This conception has been widely considered, but also misunderstood. Hans Maes has recently discussed Danto's conception of the end of art in his article, where he clears some misconceptions about the thesis, but at the same time challenges Danto's analysis of contemporary art.
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  26. The De-Aestheticization of Art: On Adorno's Aesthetische Theorie.R. Wolin - 1979 - Télos 1979 (41):105-127.
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  27.  34
    The End of the Art, the Tedium and Misery of Everyday Life (Guy Debord’s Work: an Essential Place from the Critical Point of View of our Times).Carvalho Eurico - 2014 - Aufklärung 1 (1):191-202.
    Satisfying the demand of questioning the contemporary condition implies, first of all, a criticism of present times. From this point of view, it becomes clear that art and revolution whilst practices of creative disruption are undoubtedly in crisis. Hence, it is imperative to re-read Guy Debord, who not only refused the aestheticization of politics, but also the politicization of aesthetics. For the hermeneutics of contemporary, his work is, of course, essential. Proving it is, in short, the purpose of this paper.
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  28. Impressions Of Reflection And The End Of Art: A Re-Evaluation Of Hume’s Standard Of Taste.Gary Jaeger - 2004 - Postgraduate Journal of Aesthetics 1 (1):25-31.
    In his 'Of the Standard of Taste' David Hume seems to make the paradoxical claim that even though the sentiments an agent feels in response to an artwork are subjective and unique, and it cannot be said that such sentiments are either correct or incorrect, there is a standard upon which art can be judged, which is at least partly determined by these sentiments.
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  29. The End of the World After the End of Finitude: On a Recently Prominent Speculative Tone in Philosophy.Jussi Backman - 2017 - In Marcia Cavalcante Schuback & Susanna Lindberg (eds.), The End of the World: Contemporary Philosophy and Art. London: Rowman and Littlefield International. pp. 105-123.
    The chapter studies the speculative realist critique of the notion of finitude and its implications for the theme of the "end of the world" as a teleological and eschatological idea. It is first explained how Quentin Meillassoux proposes to overcome both Kantian and Heideggerian "correlationist" approaches with his speculative thesis of absolute contingency. It is then shown that Meillassoux's speculative materialism also dismantles the close link forged by Kant between the teleological ends of human existence and a teleological notion of (...)
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  30. Review of Margaret Pabst Battin, Ending Life: Ethics and the Way We Die[REVIEW]Nafsika Athanassoulis - 2006 - Notre Dame Philosophical Reviews 2006 (1).
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  31.  49
    Review of Richard Shusterman, Performing Live: Aesthetic Alternatives for Ends of Art. [REVIEW]William Day - 2004 - Journal of Aesthetics and Art Criticism 62:300-302.
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  32. El Lenguaje Como Elemento Inmanente Del Pensar y la Tesis Hegeliana de la Muerte Del Arte.Hector Ferreiro - 2011 - Kalíope 7 (14):108-122.
    The main claim of Hegel´s System is that in its inner structure reality is consubstantial with subjective reason, so that, in spite of all its eventual contradictions, reality can be understood by the human mind. However, the process of knowledge of the rationality of reality is at the same time the process of self-knowledge of the rationality that defines as such the human mind. In this general process of knowledge-self-knowledge, the different artistic forms and the different periods of the History (...)
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  33. How to Move From Romanticism to Post-Romanticism: Schelling, Heine, Hegel.Terry Pinkard - 2010 - European Romantic Review 21 (3):391-407.
    Kant’s conception of nature’s having a “purposiveness without a purpose” was quickly picked by the Romantics and made into a theory of art as revealing the otherwise hidden unity of nature and freedom. Other responses (such as Hegel’s) turned instead to Kant’s concept of judgment and used this to develop a theory that, instead of the Romantics’ conception of the non-discursive manifestation of the absolute, argued for the discursively articulable realization of conceptual truths. Although Hegel did not argue for the (...)
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  34.  79
    Andina, Tiziana. The Philosophy of Art: The Question of Definition—From Hegel to Post‐Dantian Theories, Trans. Natalia Iacobelli, New York: Bloomsbury, 2013, 190 Pp., 5 B&W Illus., $37.95 Paperback, $120.00 Cloth. [REVIEW]Michel-Antoine Xhignesse - 2016 - Journal of Aesthetics and Art Criticism 74 (1):106-108.
    A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).
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  35. The Life of a Style: Beginnings and Endings in the Narrative History of Art.Jonathan Gilmore - 2000 - Cornell University Press.
    In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...
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  36. 11 Visual Poems.Gavin Keeney - manuscript
    The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the “dogmatic” (...)
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  37. Estado Ng Edukasyong Pansining BIswal Sa Mga Piling Pamantasan Sa PIlipinas.Joseph Reylan Viray, Jun Badie, Crislie Unabia & Lailanie Gutierrez - manuscript
    Ang kolektibong sanaysay na ito ay nagtatasa sa kalagayan at estado ng edukasyong pansining biswal sa mga piling pamantasan sa Pilipinas. Sakop ng papel ang mga sumusunod na paaralan: Politeknikong Unibersidad ng Pilipinas, De La Salle-Lipa, Mindanao State UniversityIligan Institute of Technology, at Notre Dame of Marbel University. Dalawang tanong ang tinangkang sagutin ng papel: Una, ano ang estado ng edukasyong pansining biswal sa mga piling pamantasan sa Pilipinas? Pangalawa, ano-ano ang mga posibleng solusyon sa mga suliranin na (...)
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  38. Dignity of the Human Person in Kant's Moral Philosophy (Dignidade da Pessoa Humana Na Filosofia Moral de Kant).Bruno Cunha Weyne - 2007 - Themis: Revista da Escola Superior da Magistratura do Estado do Ceará 5 (1):15-41.
    The present article aims to analyze systematically the formularization of Kant on the dignity of the human person, in order to offer a interpretative direction to the jurists at the moment of the application of this principle, which today appears as one of the beddings of the Democratic State of Law(art. 1o, III, of the Federal Constitution of 1988). To carry through such task, the work is divided in two parts: the first one studies the conceptual elements of the moral (...)
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  39. The Aesthetic Creation Theory of Art.Rafael De Clercq - 2009 - Sztuka I Filozofia (Art and Philosophy) 35:20-24.
    This is a critical discussion of Nick Zangwill’s Aesthetic Creation Theory of Art, as he has presented the theory in his book Aesthetic Creation. The discussion focuses on two questions: first, whether the notion of art implied by Zangwill’s theory is at once too wide and too narrow; second, whether Zangwill is right about the persistence conditions of works of art.
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  40. But in the End, Why is Deleuze “Anti-Hegelian”? At the Root of the Hegel–Deleuze Affair.Giacomo Pezzano - 2014 - Religija Ir Kultura [Religion and Culture] 14:89-110.
    Deleuze said that he detested Hegelianism and dialectics: this paper claims that Deleuze is contra Hegel because he has and proposes a different philosophical system. Thus, I suggest that if we want to understand the reason of such a “disgust,” we need to focus the philosophical question that moves the entire Deleuzian system (§ 1). Then, I explain that if the ground-question of Hegel’s philosophy is “how is it possible that things are surpassed, that they go on?”, the Deleuzian one (...)
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  41. The Ends of Improvisation.William Day - 2010 - Journal of Aesthetics and Art Criticism 68 (3):291-296.
    This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and Ludwig (...)
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  42. Review of Aristotle, De Anima: Translation, Introduction, and Notes, C.D.C. Reeve. [REVIEW]Caleb Cohoe - 2018 - Notre Dame Philosophical Reviews:1.
    This is an excellent translation of Aristotle's De Anima or On the Soul, part of C.D.C. Reeve's impressive ongoing project of translating Aristotle's works for the New Hackett Aristotle. Reeve's translation is careful and accurate, committed to faithfully rendering Aristotle into English while making him as readable as possible. This edition features excellent notes that will greatly assist readers (especially in their inclusion of related passages that illuminate the sections they annotate) and an introduction that situates the work within Aristotle's (...)
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  43.  59
    O'Shea, J. (2019) Review of Dennis Schulting, Kantian Nonconceptualism (Palgrave 2016), in Notre Dame Philosophical Reviews (Online). [REVIEW]James O'Shea - 2019 - Notre Dame Philosophical Reviews:online.
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  44. Review of Linda A. W. Brakel, The Ontology of Psychology: Questioning Foundations in the Philosophy of Mind. Notre Dame Philosophical Reviews. [REVIEW]Claudia Passos-Ferreira - 2014 - Notre Dame Philosophical Review.
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  45. Actions as Events and Vice Versa: Kant, Hegel and the Concept of History.Katerina Deligiorgi - 2014 - In Fred Rush & Jürgen Stolzenberg (eds.), Internationales Jahrbuch des Deutschen Idealismus. De Gruyter. pp. 175-197.
    The aim of this paper is to show how concern with agency, expressed in the idea that history is the doing of agents, shapes both Kant’s and Hegel’s conceptions of history and, by extension, the roles they accord philosophical historiography.
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  46.  41
    Review of Martin Lin, Being and Reason: An Essay on Spinoza’s Metaphysics (Oxford University Press, 2019. Notre Dame Philosophical Reviews. April 1st, 2021.Yitzhak Y. Melamed - 2021 - Notre Dame Philosophical Reviews.
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  47.  61
    Einbahnstraße: la filosofía como obra de arte.Alejandro Emilio Wills - 2012 - Logos: Revista de la Facultad de Filosofia y Humanidades 22:123-147.
    The literary genesis of Einbahnstraße by Walter Benjamin represents a very special case of the use of the procedures of surrealism in the philosophical-literary production of the author. The process of evolution of thinking that ended up in the writing of this piece is unveiled throughout the present analysis. This is a sign of both waiver and restart; the opening for a new productive dimension in the career of one of the most important —and misunderstood— philosophers of the 20th century. (...)
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  48.  81
    Klaus Brinkmann and Daniel O. Dahlstrom (Eds, Trs): Georg Wilhelm Friedrich Hegel, Encyclopedia of the Philosophical Sciences in Basic Outline, Part I: Science of Logic. [REVIEW]Christopher Yeomans - 2011 - Notre Dame Philosophical Reviews 11.
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  49.  92
    Terry Pinkard: Does History Make Sense?: Hegel on the Historical Shapes of Justice. [REVIEW]Christopher Yeomans - 2017 - Notre Dame Philosophical Reviews 16.
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  50. Irony and the Work of Art: Hegelian Legacies in Robert Smithson.Shannon Mussett - 2012 - Evental Aesthetics 1 (1):45-73.
    This paper utilizes Robert Smithson's philosophy as a kind of counterpoint, rather than refutation, to many of Hegel's convictions on the nature and function of art in world historical spirit.
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