Results for 'Peg Zeglin Brand'

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Peg Brand Weiser
Indiana University Purdue University, Indianapolis
  1. Beauty Unlimited.Peg Zeglin Brand (ed.) - 2013 - Bloomington, IN: Indiana University Press.
    Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and (...)
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  2. Beauty Matters.Peg Zeglin Brand (ed.) - 2000 - Indiana University Press.
    Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...)
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  3.  75
    The Beauty of the Game.Peg Zeglin Brand Weiser & Myles Brand - 2007 - In Jerry Walls (ed.), Basketball and Philosophy. Lexington: The University Press of Kentucky. pp. 94-103.
    Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!
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  4. Surface Interpretation: Reply to Leddy.Peg Zeglin Brand & Myles Brand - 1999 - Journal of Aesthetics and Art Criticism 57 (4):463-465.
    In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.
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  5. Feminist Art Epistemologies: Understanding Feminist Art.Peg Brand - 2006 - Hypatia 21 (3):166 - 189.
    Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a (...)
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  6.  98
    Letters to the Editor.Peg Brand, Myles Brand, G. E. M. Anscombe, Donald Davidson, John M. Dolan, Peter T. Geach, Thomas Nagel, Barry R. Gross, Nebojsa Kujundzic, Jon K. Mills, Stephen Lester Thompson, Richard J. McGowan, Jennifer Uleman, John D. Musselman, James S. Stramel & Parker English - 1995 - Proceedings and Addresses of the American Philosophical Association 69 (2):119 - 131.
    Co-authored letter to the APA to take a lead role in the recognition of teaching in the classroom, based on the participation in an interdisciplinary Conference on the Role of Advocacy in the Classroom back in 1995. At the time of this writing, the late Myles Brand was the President of Indiana University and a member of the IU Department of Philosophy.
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  7. Feminism and Aesthetics.Peg Brand - 2007 - In Linda Alcoff & Eva Feder Kittay (eds.), The Blackwell Guide to Feminist Philosophy. Blackwell.
    This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.
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  8. Surface and Deep Interpretation.Peg Brand & Myles Brand - 2012 - In Mark Rollins (ed.), Danto and His Critics, 2nd Edition. Wiley-Blackwell. pp. 69-83.
    Arthur C. Danto proposes a complex and controversial relationship between surface and deep interpretations in The Philosophical Disenfranchisement of Art (1986). We detail the analogy between understanding human actions and interpreting works of art that both develops a motivation for Danto's view and clarifies it. We object to the most plausible version of content dependency among surface and deep interpretations and in so doing, we also clarify the way in which an interpretation is constitutive of an artwork.
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  9. The Aesthetics of Childbirth.Peg Brand & Paula Granger - 2012 - In Sheila Lintott & Maureen Sander-Staudt (eds.), Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge. pp. 215-236.
    Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works of (...)
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  10. Definitions of Art, by Stephen Davies. [REVIEW]Peg Brand - 1994 - Philosophy and Phenomenological Research 54 (2):492-494.
    Davies presents the reader with a sterling review of the literature on the definition of "art" and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art.
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  11. Painting the Difference: Sex and Spectator in Modern Art, by Charles Harrison. [REVIEW]Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244–246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  12.  78
    Salon-Haunters: The Impasse Facing French Intellectuals.Peg Brand - 2005 - In Sally Scholz & Shannon Mussett (eds.), The Contradictions of Freedom: Philosophical Essays on Simone de Beauvoir's the Mandarins. SUNY Press. pp. 211-226.
    Beauvoir maintains a unified "compromise theory" of aesthetics throughout her ethics, feminism, and fiction that portrays the conundrum that every artist faces -- an impasse that sets action against inaction, politics against culture. Beauvoir's theory of art in The Mandarins, aided by an analysis of women's oppression in The Second Sex, advocates art that keeps past events alive in the present and in so doing, changes even the tragic into the life affirming. Beauvoir lauds artists who, even in the face (...)
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  13.  91
    Lord, Lewis, and the Institutional Theory of Art.Peggy Zeglin Brand - 1982 - Journal of Aesthetics and Art Criticism 40 (3):309-314.
    In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...)
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  14.  32
    Review of New Feminist Art Criticism by Katy Deepwell. [REVIEW]Peg Brand - 1997 - Journal of Aesthetics and Art Criticism 55 (3):344-345.
    Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists (...)
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  15. Feminism and Tradition in Aesthetics.Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.) - 1995 - Pennsylvania State University Press.
    Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...)
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  16. The Role of Luck in Originality and Creativity.Peg Zeglin Brand Weiser - 2015 - Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...)
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  17. Symposium: Beauty Matters.Peg Zeglin Brand - 1999 - Journal of Aesthetics and Art Criticism 57 (1):1-10.
    The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some guidance as (...)
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  18. Introduction: Feminism and Aesthetics.Peg Zeglin Brand Weiser & Mary Devereaux - 2003 - Hypatia 18 (4):ix-xx.
    This special issue of HYPATIA: A Journal of Feminist Philosophy we co-edited highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter, Joshua Shaw), and review essays by Estella Lauter and Flo Leibowitz.
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  19. Glaring Omissions in Traditional Theories of Art.Peg Zeglin Brand Weiser - 2003 - In Steven Cahn (ed.), Philosophy for the 21st Century: A Comprehensive Reader. Oxford University Press. pp. 779-813.
    I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...)
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  20. ORLAN Revisited: Disembodied Virtual Hybrid Beauty.Peg Zeglin Brand Weiser - 2013 - In Peg Zeglin Brand Weiser (ed.), Beauty Unlimited. Bloomington, IN: Indiana University Press. pp. 306-340.
    I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...)
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  21. Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports.Peg Zeglin Brand Weiser & Edward B. Weiser - 2016 - In Sherri Irvin (ed.), Body Aesthetics. Oxford University Press. pp. 192-221.
    The history of gender challenges faced by women in elite sports is fraught with controversy and injustice. These athletes' unique physical beauty creates what appears to be a paradox yet is, in fact, scientifically predictable. Intense training for the highest levels of competition leads to unique bodily strength and rare beauty associated with specific anatomic changes, leading top athletes to be singled out as exceptions from their gender and even excluded from competing. Authorities like the IOC and IAF, as well (...)
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  22. Pastiche.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed. Oxford University Press. pp. 76-78.
    The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.
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  23. Parody.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd Ed. Oxford University Press. pp. 69-72.
    The term "parody" derives from the ancient Greek word parodia and has come to include a variety of meanings connected with correlative terms such as "pastiche," "quotation," "satire," and "allusion." At the present time, more than a few commentators are eager to discuss contemporary parody as an art form particularly relevant to our era. Most approaches share a basic foundation that treats parody as a complex multilayered type of imitation (sometimes referred to as intertextuality). Only some theorists, however, include a (...)
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  24. The Feminist Art Project (TFAP) and its Significance for Aesthetics.Peg Zeglin Brand Weiser - forthcoming - In Feminist Aesthetics and Philosophy of Art: Critical Visions, Creative Engagements. Springer Press.
    In 1970, art critic Linda Nochlin articulated the radical question, "Why are there no great women artists?" The Feminist Art Project (http://feministartproject.rutgers.edu) is engaged in a national and international re-assessment of that question, complete with a long overdue commemoration and celebration of women artists. Given TFAP's stated emphasis on recognizing the aesthetic impact of women on the visual arts and culture, questions arise within our own philosophical community about the potential impact of TFAP, the significance of women artists, and the (...)
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  25. Beauty as Pride: A Function of Agency.Peg Zeglin Brand Weiser - 2011 - APA Newsletter on Philosophy and Medicine 10 (2):5-9.
    This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...)
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  26. How Beauty Matters.Peg Zeglin Brand Weiser - forthcoming - In Lee B. Brown David Goldblatt (ed.), Aesthetics: A Reader in Philosophy of the Arts. Routledge.
    How do we view, understand and appreciate a complex and challenging work of visual art such as Leon Mostovoy's Transfigure and how, in our encounter with it, does beauty matter? Transfigure Project--a 2013 book, film and photographic installation that is now also an interactive website (http://transfigureproject.com/)--is "a project of corporal self-expression, presented as an experimental, visual feast" by which 'transfigure' means "to transform into something more beautiful or elevated." Photographs of fifty nude trans-identified figures can be playfully arranged in numerous (...)
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  27.  95
    Bound to Beauty: An Interview with Orlan.Peg Zeglin Brand Weiser - 2000 - In Peg Zeglin Brand Weiser (ed.), Beauty Matters. Bloomington, IN: Indiana University Press. pp. 289-313.
    Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with Orlan (...)
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  28.  84
    Emancipated Beauty.Peg Zeglin Brand Weiser - 2009 - In Marc Nouschi and Elisabeth Azoulay (ed.), 100,000 Years of Beauty: Modernity/Globalisations (Volume 4 of 5). Paris, France: Gallimard. pp. 140-142.
    This short essay is part of a 5 volume work entitled 100,000 Years of Beauty complete with more than 300 authors from over 30 countries. I was aksed to write about Simone de Beauvoir and the concept of 'emancipated beauty'; I cast Beauvoir's theory of freedom--combining liberation and equality with beauty and femininity--in defiance of the long-standing and constrictive dichotomy that says women must choose one or the other. Beauvoir's most famous phrase, "One is not born, but rather becomes a (...)
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  29.  69
    Feminism: Feminisms and Tradition.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed. Oxford University Press. pp. 22-26.
    Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics that have brought new focus to (...)
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  30.  69
    VIRTUAL BEAUTY: Orlan and Morimura.Peg Zeglin Brand Weiser - 2001 - L and B (Lier En Boog) 16:92-104.
    This essay offers some thoughts on the editors' (Annette w. Balkema and Henk Slager) project "Exploding Aesthetics" with the goal of extending aesthetics based on a specific type of artistic output. Both artists--Orlan and Morimura--have already expanded the normal parameters of artistic inquiry and the resulting critical discourse. As an aesthetician, I merely offer some elaboration and philosophical backdrop to their creative enterprise. They constitute the paradigm of the avant-garde artist extra ordinaire leading us into the uncharted realm of cyberspace (...)
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  31.  64
    Mounting Frustration: The Art Museum in the Age of Black Power, by Susan E. Cahan, and Museums and Public Art: A Feminist Vision, by Hilde Hein. [REVIEW]Peg Zeglin Brand Weiser - 2017 - Journal of Aesthetics and Art Criticism 75 (1):91-94.
    These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.
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  32.  50
    Only a Promise of Happiness: The Place of Beauty in a World of Art. [REVIEW]Peg Zeglin Brand Weiser - 2007 - College Art Association Reviews:online.
    College Art Association Review of Nehemas' 2007 book on beauty that challenges his exclusion of consideration of issues of gender, i.e., I ask the questions, "whose beauty?" and "beauty for whom?".
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  33.  23
    Reivew of Sally Banes' Dancing Women: Female Bodies on Stage. [REVIEW]Peg Zeglin Brand Weiser - 1999 - Dance Research Journal 31 (2):114-117.
    Sally Banes' analysis, Dancing Women: Female Bodies on Stage, is an exemplary model for future feminist criticism of all the arts. The reason is that Banes deliberately avoids judgments about dancing bodies that are overwhelmingly negative or positive, that is, inflexible indicators of either victimization or celebration. What she teaches us instead is the practice of looking.
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  34.  82
    The Aesthetic Attitude in the Ethics of Ambiguity.Peg Zeglin Brand - 2001-2002 - Simone de Beauvoir Studies 18:31-48.
    This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 the (...)
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  35.  70
    Feminism and Tradition in Aesthetics "Introduction".Carolyn Korsmeyer (ed.) - 1995 - Pennsylvania State University Press.
    Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...)
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  36.  53
    The Sense of Art. [REVIEW]Peg Brand Weiser - 1990 - The Personalist Forum 6 (1):89-91.
    Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".
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  37.  26
    From Sacred Phallus to Brand to Image.Louise Goueffic - manuscript
    Looks at the development of the sacred after the Sumerians' named the phallus Supreme Creator in 9000 B.C.E. Lists names invented creating belief in Sacred Phallus and names the part male genitals played in supporting the phallus as sacred.
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  38. A Methodological Framework for Projecting Brand Equity: Putting Back the Imaginary Into Brand Knowledge Structures.George Rossolatos - 2014 - Sign Systems Studies 42 (1):98-136.
    The aim of this paper is to outline a methodological framework for brand equity planning with structuralist rhetorical semiotics. By drawing on the connectionistconceptual model of the brand generative trajectory of signification it will be displayed in a stepwise fashion how a set of nuclear semes and classemes or anintended semic structure that underlies manifest discursive structures may be projected by its internal stakeholders with view to attaining differential brand associations. The suggested methodological framework focuses on the (...)
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  39.  8
    Brand Equity Planning with Structuralist Rhetorical Semiotics.George Rossolatos - 2014 - Kassel: Kassel University Press.
    Brand Equity Planning with Structuralist Rhetorical Semiotics furnishes an innovative conceptual model and methodology for brand equity planning, with view to addressing a crucial gap in the marketing and semiotic literatures concerning how advertising multimodal textual elements may be transformed into brand associations, with an emphasis on rhetorical relata as modes of connectivity between a brand’s surface and depth grammar. The scope of this project is inter-disciplinary, spanning research areas such as brand equity, structuralist semiotics, (...)
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  40. Handbook of Brand Semiotics (George Rossolatos Ed.), Kassel: Kassel University Press 2015.George Rossolatos (ed.) - 2015 - Kassel: Kassel University Press.
    Semiotics has been making progressively inroads into marketing research over the past thirty years. Despite the amply demonstrated conceptual appeal and empirical pertinence of semiotic perspectives in various marketing research streams, spanning consumer research, brand communications, branding and consumer cultural studies, there has been a marked deficit in terms of consolidating semiotic brand-related research under a coherent disciplinary umbrella with identifiable boundaries and research agenda. -/- The Handbook of Brand Semiotics furnishes a compass for the perplexed, a (...)
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  41. Logico-Linguistic Papers.P. F. Strawson - 2004 - Ashgate.
    This reissue of his collection of early essays, Logico-Linguistic Papers, is published with a brand new introduction by Professor Strawson but, apart from minor ...
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  42.  42
    Form, Matter, Substance. [REVIEW]Daniel Z. Korman - 2019 - Notre Dame Philosophical Reviews.
    In Form, Matter, Substance, Kathrin Koslicki articulates and defends her preferred brand of hylomorphism, weighing in on how we should conceive of the matter and the form of such compounds, and on how they can qualify as fundamental “substances” despite being ontologically dependent on their components. I review Koslicki’s principal claims and conclusions (§1), and then raise some concerns about her master argument for “individual forms” (§2) and her criticism of standard essentialist accounts of artifacts (§3).
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  43.  74
    An Absurd Consequence of Stanford’s New Induction Over the History of Science: A Reply to Sterpetti.Moti Mizrahi - forthcoming - Axiomathes:1-13.
    In this paper, I respond to Fabio Sterpetti’s (2018) attempt to defend Kyle P. Stanford’s Problem of Unconceived Alternatives (PUA) and his New Induction over the History of Science (NIS) from my reductio argument outlined in Mizrahi (2016a). I discuss what I take to be the ways in which Sterpetti has misconstrued my argument against Stanford’s NIS, in particular, that it is a reductio, not a dilemma, as Sterpetti erroneously thinks. I argue that antirealists who endorse Stanford’s NIS still face (...)
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  44.  33
    Linguistic Interventions and Transformative Communicative Disruption.Rachel Katharine Sterken - 2019 - In Herman Cappelen, David Plunkett & Alexis Burgess (eds.), Conceptual Engineering and Conceptual Ethics. Oxford: Oxford University Press.
    What words we use, and what meanings they have, is important. We shouldn't use slurs; we should use 'rape' to include spousal rape (for centuries we didn’t); we should have a word which picks out the sexual harassment suffered by people in the workplace and elsewhere (for centuries we didn’t). Sometimes we need to change the word-meaning pairs in circulation, either by getting rid of the pair completely (slurs), changing the meaning (as we did with 'rape'), or adding brand (...)
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  45. Why Compatibilist Intuitions Are Not Mistaken: A Reply to Feltz and Millan.James Andow & Florian Cova - 2016 - Philosophical Psychology 29 (4):550-566.
    In the past decade, a number of empirical researchers have suggested that laypeople have compatibilist intuitions. In a recent paper, Feltz and Millan have challenged this conclusion by claiming that most laypeople are only compatibilists in appearance and are in fact willing to attribute free will to people no matter what. As evidence for this claim, they have shown that an important proportion of laypeople still attribute free will to agents in fatalistic universes. In this paper, we first argue that (...)
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  46. The Emerging Structure of the Extended Evolutionary Synthesis: Where Does Evo-Devo Fit In?Alejandro Fábregas-Tejeda & Francisco Vergara-Silva - 2018 - Theory in Biosciences 137.
    The Extended Evolutionary Synthesis (EES) debate is gaining ground in contemporary evolutionary biology. In parallel, a number of philosophical standpoints have emerged in an attempt to clarify what exactly is represented by the EES. For Massimo Pigliucci, we are in the wake of the newest instantiation of a persisting Kuhnian paradigm; in contrast, Telmo Pievani has contended that the transition to an EES could be best represented as a progressive reformation of a prior Lakatosian scientific research program, with the extension (...)
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  47. Origination, Moral Responsibility, Punishment, and Life-Hopes: Ted Honderich on Determinism and Freedom.Gregg Caruso - 2018 - In Gregg D. Caruso (ed.), Ted Honderich on Consciousness, Determinism, and Humanity. London, UK:
    Perhaps no one has written more extensively, more deeply, and more insightfully about determinism and freedom than Ted Honderich. His influence and legacy with regard to the problem of free will—or the determinism problem, as he prefers to frame it—looms large. In these comments I would like to focus on three main aspects of Honderich ’s work: his defense of determinism and its consequences for origination and moral responsibility; his concern that the truth of determinism threatens and restricts, but does (...)
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  48.  88
    Simple Mindedness: In Defense of Naive Naturalism in the Philosophy of Mind.< Cont.Katalin Balog & Jennifer Hornsby - 1999 - Philosophical Review 108 (4):562.
    Hornsby is a defender of a position in the philosophy of mind she calls “naïve naturalism”. She argues that current discussions of the mind-body problem have been informed by an overly scientistic view of nature and a futile attempt by scientific naturalists to see mental processes as part of the physical universe. In her view, if naïve naturalism were adopted, the mind-body problem would disappear. I argue that her brand of anti-physicalist naturalism runs into difficulties with the problem of (...)
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  49. The Oxford Handbook of Metaphysics.Michael J. Loux & Dean W. Zimmerman (eds.) - 2003 - Oxford University Press.
    The Oxford Handbook of Metaphysics offers the most authoritative and compelling guide to this diverse and fertile field of philosophy. Twenty-four of the world's most distinguished specialists provide brand-new essays about 'what there is': what kinds of things there are, and what relations hold among entities falling under various categories. They give the latest word on such topics as identity, modality, time, causation, persons and minds, freedom, and vagueness. The Handbook's unrivaled breadth and depth make it the definitive reference (...)
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  50.  73
    The Present and Future of Judgement Aggregation Theory. A Law and Economics Perspective.Philippe Mongin - forthcoming - In Jean-François Laslier, Hervé Moulin, Remzi Sanver & William S. Zwicker (eds.), The Future of Economic Design. New York: Springer.
    This chapter briefly reviews the present state of judgment aggregation theory and tentatively suggests a future direction for that theory. In the review, we start by emphasizing the difference between the doctrinal paradox and the discursive dilemma, two idealized examples which classically serve to motivate the theory, and then proceed to reconstruct it as a brand of logical theory, unlike in some other interpretations, using a single impossibility theorem as a key to its technical development. In the prospective part, (...)
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