Results for 'Art history'

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  1. Monumental Origins of Art History: Lessons from Mesopotamia.Jakub Stejskal - forthcoming - History of Humanities.
    When does art history begin? Art historiographers typically point to the Renaissance (Vasari) or, alternatively, to Hellenism (Pliny the Elder). But such origin stories become increasingly disconnected from contemporary disciplinary practices, especially as the latter try to rise to the challenge of conducting art history in a more diversified and global way. This essay provides an alternative account of art history’s origin, one that does not try to alleviate the sense of disconnect, but rather develops a global, (...)
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  2. Pictorial Space throughout Art History: Cezanne and Hofmann. How it models Winnicott's interior space and Jung's individuation.Maxson J. McDowell - manuscript
    Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book on (...)
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  3. Principles of Art History: The Problem of the Development of Style in Early Modern Art.Bence Nanay - 2017 - British Journal of Aesthetics 57 (1):106-109.
    Principles of Art History: The Problem of the Development of Style in Early Modern Art Heinrich Wölfflingetty research institute. 2015. pp. 356. £20.00.
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  4. Action, Art, History: Engagements with Arthur C. Danto: Book Reviews. [REVIEW]Michalle Gal - 2008 - British Journal of Aesthetics 48 (1):105-107.
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  5. Art History for Filmmakers. The Art of Visual Storytelling. [REVIEW]Maria Irene Aparicio - 2018 - Cinema Journal of Philosophy and the Moving Image (10):193-197.
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  6. What does Peirce's Sign System Have to Say to Art History?James Elkins - 2003 - Culture, Theory, and Critique 44 (1):5-22.
    Peirce is far too strange for the uses to which he is put in art history. This is a plea to art historians for a moratorium on Peirce citations.
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  7. Review of Elkins Our Beautiful Dry and Distant Texts: Art History as Writing. [REVIEW]Jennifer A. McMahon - 2001 - Australasian Journal of Philosophy 79 (1):142-143.
    In order to say what one means, and be understood, one needs to know to whom one wishes to communicate, the particular mindset one addresses. Expressing oneself clearly and naturally requires some art. Style, then, is an important component of the message received, or so it is in art history writing according to James Elkins. He attempts to demonstrate that what constitutes art history writing is consequently unanalysable; that art history under analysis becomes something else. ‘The glare (...)
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  8. Aesthetic Truth Through the Ages: A Lonerganian Theory of Art History.Ryan Michael Miller - 2020 - Proceedings of the American Catholic Philosophical Association 94:139-151.
    Classical authors were generally artistic realists. The predominant aesthetic theory was mimesis, which saw the truth of art as its successful representation of reality. High modernists rejected this aesthetic theory as lifeless, seeing the truth of art as its subjective expression. This impasse has serious consequences for both the Church and the public square. Moving forward requires both, first, an appreciation of the strengths and weaknesses of the high modernist critique of classical mimetic theory, and, second, a theory of truth (...)
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  9. Radical History and the Politics of Art.Gabriel Rockhill - 2014 - New York: Columbia University Press.
    The primary objective of this book is to open space for rethinking the relationship between art and politics. It seeks to combat one of the fundamental assumptions that has plagued many of the previous debates on this issue: that art and politics are distinct entities definable in terms of common properties, and that they have privileged points of intersection, which can be determined once and for all in terms of an established formula. This common sense assumption is rooted in a (...)
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  10. History of Computer Art.Thomas Dreher - 2014 - IASLonline.
    A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, (...)
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  11. History of Computer Art, Second Edition.Thomas Dreher - 2020 - Morrisville, USA: Lulu Press.
    The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and (...)
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  12. Art: A brief history of absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all (...)
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  13. A Necessary Transgression: Malraux, Art, and History.Derek Allan - 2023 - la Revue des Lettres Modernes 2023 – 9. L’Homme Précaire Et la Littérature 9:135 - 149.
    Modern aesthetics is divided into two branches – the Anglo-American and the Continental. A major cause of this division is their divergent views about the place of history in aesthetics, the first tending to minimize historical considerations, while the second readily embraces them. This article explores the place of history in André Malraux's theory of art and argues that his thinking quickly resolves this long-standing disagreement. (This text is a translation of the published French version.).
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  14.  83
    Decolonizing the History of Pre-Columbian Art in Brazil.Alex Pereira De Araújo - 2023 - International Journal of Humanities and Education Development (Ijhed) 5 (6):73-78.
    This study resumes the discussion undertaken by Ulpiano Bezerra de Menezes, historian, archaeologist and museologist at the University of São Paulo, the first to “decolonize the history of Art in the Americas”. At the same time, this resumption is in charge of paying homage to this researcher who found the mistakes and gaps left by European scholars who were at the service of Eurocentric colonialism and its Eurocentric culture. However, the central objective of this text is to contribute to (...)
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  15. Practices of Form: Art – Philosophy – Life – History.Alison Ross - 2017 - Critical Horizons 18 (4):289-294.
    This article canvases some of the issues involved in the idea of form as a practice in Kant, Blumenberg and Foucault, and it also outlines the different contexts and approaches the individual papers collected in this Special Issue use to explore this idea.
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  16. Core Experiments, Natural Histories and the Art of experientia literata: the meaning of Baconian Experimentation.Dana Jalobeanu - 2011 - Society and Politics 5 (2).
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  17. Art in the time of Disease.Srajana Kaikini - 2014 - Journal for Cancer Research and Therapeutics 10 (1):229 -231.
    An invited editorial on the depiction of disease in art history which would then become the symbol of this redemptive philosophy.
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  18. 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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  19. Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
    Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...)
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  20. Practical Integration: the Art of Balancing Values, Institutions and Knowledge. Lessons from the History of British Public Health and Town Planning.Giovanni De Grandis - 2016 - Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 56:92-105.
    The paper uses two historical examples, public health (1840-1880) and town planning (1945-1975) in Britain, to analyse the challenges faced by goal-driven research, an increasingly important trend in science policy, as exemplified by the prominence of calls for addressing Grand Challenges. Two key points are argued. (1) Given that the aim of research addressing social or global problems is to contribute to improving things, this research should include all the steps necessary to bring science and technology to fruition. This need (...)
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  21. Statues, History, and Identity: How Bad Public History Statues Wrong.Daniel Abrahams - 2023 - Journal of the American Philosophical Association 9 (2):253-267.
    There has recently been a focus on the question of statue removalism. This concerns what to do with public history statues that honour or otherwise celebrate ethically bad historical figures. The specific wrongs of these statues have been understood in terms of derogatory speech, inapt honours, or supporting bad ideologies. In this paper I understand these bad public history statues as history, and identify a distinctive class of public history-specific wrongs. Specifically, public history plays an (...)
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  22. Art Historical Explanation Of Paintings And The Need For An Aesthetics Of Agency.Daniel Davies - 2004 - Postgraduate Journal of Aesthetics 1 (3):86-98.
    Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and (...)
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  23. Sanat Felsefesi Açısından Doğan Kuban: Mimarlık Tarihinden Türk Sanatının İlkelerine / Doğan Kuban In Terms of Philosophy of Art: From The History of Architecture to The Principles of Turkish Art.Ömür Karslı - 2023 - Tasarım+Kuram 19 (140. Yıl):20-37.
    In this article the possibilities of expanding the boundaries of the knowledge and tradition of art philosophy in Turkey through the works of names outside the discipline of philosophy are investigated. For this purpose the production of architectural historian Doğan Kuban is discussed. Kuban’s works are evaluated from a philosophical perspective and it is tried to justify that they should be included in the philosophy of art literature. It has been accepted by the researchers that aesthetics/philosophy of art in Turkey (...)
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  24. Defining Art and its Future.Zachary Isrow - 2017 - Journal of Arts and Humanities 6 (6):84-94.
    Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art (...)
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  25. From Art to Information System.Miro Brada - 2021 - AGI Laboratory.
    This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. British (...)
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  26. 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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  27. Art and Form: From Roger Fry to Global Modernism.Sam Rose - 2019 - University Park, PA: Pennsylvania State University Press.
    From the publisher: -/- This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. -/- In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude (...)
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  28. Failed-Art and Failed Art-Theory.Christy Mag Uidhir - 2010 - Australasian Journal of Philosophy 88 (3):381-400.
    An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but (...)
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  29. Art and the "real world".Derek Allan - manuscript
    A conference paper examining the relationship between art and what is loosely termed the “real world”.
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  30. Gombrich: la Historia del arte y las humanidades.Carlos Vanegas - 2016 - In Vanegas Carlos (ed.), El pluralismo del pensar. Historia del arte y humanismo. Universidad de Antioquia. pp. 127-149.
    Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Ernst Gombrich (1909-2001), como un punto de encuentro común para el investigador y el alumno sobre el arte y sus relatos legitimadores en la tradición humanista. De esta manera, planteo el interés por pensar la Historia del arte para el presente, en el cual Gombrich se enfrena al problema del método de la Historia como una humanidad en el ámbito académico, tanto en el mundo (...)
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  31. Why Art Became Ugly.Stephen R. C. Hicks - 2004 - Navigator 6 (10).
    For a long time critics of modern and postmodern art have relied on the "Isn't that disgusting" strategy. By that I mean the strategy of pointing out that given works of art are ugly, trivial, or in bad taste, that "a five-year-old could have made them," and so on. And they have mostly left it at that. The points have often been true, but they have also been tiresome and unconvincing—and the art world has been entirely unmoved. -/- Of course, (...)
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  32. De la historia del arte como posibilidad actual del humanismo en Julius von Schlosser y Giulio Carlo Argan.Carlos Vanegas - 2014 - Co-herencia (20):79-98.
    The complex world of thought and sensitivity in the sphere of contemporary art has entailed the revision and exclusion of disciplines aimed at providing a model to explain and conceptualize reality. Art history, as one such discipline, has had many of its contributions questioned from Gombrich’s epistemological reformulation to the postmodern discourses, which extol the death of the author, the post-structuralist idea of tradition as a textual phenomenon, and the declaration of the death of history as a consequence (...)
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  33. Art anthology.Fee-Alexandra Haase - manuscript
    This is an anthology of writings about art, art history, esthetics, and art theory from the 18th to 20th century.
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  34. The History of Vision.Bence Nanay - 2015 - Journal of Aesthetics and Art Criticism 73 (3):259-271.
    One of the most influential ideas of twentieth-century art history and aesthetics is that vision has a history and it is the task of art history to trace how vision has changed. This claim has recently been attacked for both empirical and conceptual reasons. My aim is to argue for a new version of the history of vision claim: if visual attention has a history, then vision also has a history. And we have some (...)
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  35. Interpreting Art.Sam Rose - 2022 - London, UK: University College London Press.
    Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging (...)
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  36. 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 (...)
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  37. An Artist's View of the History of Art from the Perspective of 'Analogic Representation'.Michael Joseph Winkler - 2017 - Published Online in Relation to the Henge Lab Component of the Artist's Starlight Ridge Project.
    This article is basically an artist's statement published in connection with a major interdisciplinary art project currently in development (completion date estimated to be 2020).
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  38. Metaphors in arts and science.Walter Veit & Ney Milan - 2021 - European Journal for Philosophy of Science 11 (2):1-24.
    Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...)
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  39. L'art désœuvré, modes d'emploi. Entre esthétique et théorie de la restauration.Filippo Fimiani - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (1):52-72.
    In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...)
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  40. The Art of Medicine: From small beginnings: to build an anti-eugenic future.Benedict Ipgrave, Miroslava Chavez-Garcia, Marcy Darnovsky, Subhadra Das, Charlene Galarneau, Rosemarie Garland-Thomson, Nora Ellen Groce, Tony Platt, Milton Reynolds, Marius Turda & Robert A. Wilson - 2022 - The Lancet 10339 (399):1934-1935.
    Short overview of the From Small Beginnings Project and its relevance for resisting eugenics in contemporary society.
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  41. Internal History versus External History.Bence Nanay - 2017 - Philosophy 92 (2):207-230.
    The aim of this paper is to generalize a pair of concepts that are widely used in the history of science, in art history and in historical linguistics – the concept of internal and external history – and to replace the often very vague talk of ‘historical narratives’ with this conceptual framework of internal versus external history. I argue that this way of framing the problem allows us to see the possible alternatives more clearly – as (...)
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  42. 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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  43. The Very Idea of Art.Derek Allan - manuscript
    Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being (...)
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  44.  68
    Liberal arts and mixing methods: Good reasons to educate citizens and poor pilgrims as free men.José Andrés-Gallego - 2019 - Arbor 195 (794):1-11.
    Mixing methods is a well-known innovative meth- odologic proposal for research in the second half of the 20th century social sciences. Reading literature about it, I observed the aspect that justifies this paper: Authors of theoretical contributions on mixing methods recognized that this was known to be a practice already in use many centuries ago. Some of them even have re-examined the whole history of the scientific method to search precedents. They are however individual and theoretical precedents. I add (...)
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  45. The Very Idea of Art.Derek Allan - manuscript
    Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being (...)
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  46. Art as Self-Origination in Winckelmann and Hegel.Donovan Miyasaki - 2006 - Graduate Faculty Philosophy Journal 27 (1):129-150.
    Eighteenth-century art historian Johann Joachim Winckelmann (1717-1768) shared with Hegel a profound admiration for the art and culture of ancient Greece. Both viewed ancient Greece as, in some sense, an ideal to which the modern world might aspire—a pinnacle of spiritual perfection and originality that contemporary civilization might, through an understanding of ancient Greek culture, one day equal or surpass. This rather competitive form of nostalgia suggests a paradoxical demand to produce an original and higher state of culture through the (...)
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  47. Entheogens in Christian Art: Wasson, Allegro and the Psychedelic Gospels.Jerry Brown & Julie M. Brown - 2019 - Journal of Psychedelic Studies 3 (2):142-163.
    In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita muscaria, (...)
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  48. Aesthetic Properties, History and Perception.Sonia Sedivy - 2018 - British Journal of Aesthetics 58 (4):345-362.
    If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into (...)
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  49. Mirrors of the soul and mirrors of the brain? The expression of emotions as the subject of art and science.Machiel Keestra - 2014 - In Gary Schwartz (ed.), Emotions. Pain and pleasure in Dutch painting of the Golden Age. nai010 publishers. pp. 81-92.
    Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...)
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  50. History of Substance in Philosophy.Bassey Samuel Akpan & Charles Clement Odohoedi - 2016 - History of Substance in Philosophy 5:254-270.
    A lot of words investigated by philosophers get their inception for conventional or extra-philosophical dialect. Yet the idea of substance is basically a philosophical term of art. Its employments in normal dialect tend to derive, often in a twisted way, different from its philosophical usage. Despite this, the idea of substance differs from philosophers, reliant upon the school of thought in which it is been expressed. There is an ordinary concept in play when philosophers discuss “substance”, and this is seen (...)
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