Art As Language: Wittgenstein, Meaning, and Aesthetic Theory

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Her research focuses on political philosophy (especially issues in global justice, human rights, and international law) and bioethics (with a focus on environmental and agricultural issues). Nehamas says that the sublime is our reaction in the face of something so overpowering that it consumes or obliterates us. A philosophy of nursing is usually created by an individual nurses for use in their daily practice. Mathematical considerations, such as symmetry and complexity, are used for analysis in theoretical aesthetics.

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Ralph Waldo Emerson: Essays and Journals (The Programmed

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What is the meaning of a work of art? Similar problems arise for music, film and even painting. Retrieved on 2 May 2009. [36] "Stuck on the Turner Prize" (http:/ / www. artnet. com/ Magazine/ news/ artnetnews/ artnetnews10-27-00. asp), artnet, 27 October 2000. When asked, artists usually speak of some desire to make sense of themselves and their surroundings. This is the beginning of drama: to see oneself as transformed into another body. Continue reading → “impartiality is obtained by taking the viewpoints of others into account; impartiality is not the result of some higher standpoint that would then actually settle the dispute by being altogether above the meleé.” In Lectures on Kant’s Political Philosophy, Arendt takes the surprising approach of drawing on Kant’s aesthetics to offer a distinct interpretation of political philosophy.

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How the Materiality of Paint Is Intrinsic to the Work of

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Abell will be long remembered for the catalogue he compiled, using the Palomar telescope, of clusters of galaxies, which now are identified by their "Abell" number. This can certainly be said of such Transcendental writers as Henry David Thoreau and Ralph Waldo Emerson. Of course, it could be argued that the film resonates because it just so happens that the situation is similar to that of today (that is, WWII is like the current wars in certain ways).

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Intercultural Communication: A Critical Introduction by

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When approached in ways that are relevant to particular groups, these areas can also be investigated by non-philosophers; e.g., students ranging from the primary grades through graduate school can also address the following questions in terms of their own levels of sophistication. 1) Defining what is and what is not art: what conditions must be present for something to be called art? what concepts enable us to identify qualities in works of art and the nature of its aesthetic form? what meanings can be conveyed by works of art? 2) Engaging in the aesthetic encounter and making valid responses to works of art: what is the nature of aesthetic experience? what are appropriate ways for looking at art? what does a work of art express? 3) Identifying standards and making critical judgments about art: what are the differences between personal preferences and objective judgments? can there be a set of standards for what is beautiful? how do we distinguish between beauty and ugliness? 4) Clarifying the role of the artist and the creative process: how does making art differ from other activities? what does it mean to be expressive, imaginative, or original? 5) Exploring the nature of the art world, and the relationships between art and ideology and morality: how do the meanings in works of art relate to the artist's culture? is art amoral? apolitical? are art forms part of other values? how does the "art world" relate to other cultural institutions?

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Res: Anthropology and Aesthetics, 5: Spring 1983 (Vol 5)

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It is that all assertions that the rational man calls truths are false. Pre-Qin Confucian aesthetics generally had two viewpoints when defining beauty: Negatively, by stressing that “beauty” in the aesthetic sense was not “good”; and positively, by stressing two factors: one, that beauty was related to “feeling” which was not an animal instinct, the other was that “beauty” was a special texture with a particular meaning. “Beauty” in Pre-Qin Confucian aesthetics may be defined as “texture (or form)” capable of communicating feeling or (...) triggering a reaction of feeling. (shrink)

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Art and Ethical Criticism (New Directions in Aesthetics)

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E-FAB Man - part Vitruvian Man, part Modular Man and more, blended into E-FAB balance Each factor, individually, represents one portion of a total theoretical design. We must also worry that if there are fact-checkers at The New York Review of Books, they are not doing their job here. In Fries, we have the distinction between Wissen, Glaude, and Ahndung, where Wissen ("knowledge") is the positive knowledge of mathematics and science, Glaube ("belief") consists of the abstract clues to things-in-themselves that Kant sees in morality, and then Ahndung ("intimation") consists of the positive aesthetic feelings that relate us directly to things-in-themselves.

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Art without Borders: A Philosophical Exploration of Art and

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Jason D'Cruz Associate Professor, received his PhD from Brown University. It is energetically argued, clearly written, well-structured, admirably wide-ranging, and impressively well informed with respect to current theories in neuroscience, linguistics, and cognitive science. In this sense a work of architecture can express some of its aesthetic properties, its gracefulness, its minatory look, its wit, and it can literally exemplify its mass, its solidity, and perhaps its style.

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Excerpts from Virtuism: Philosophy and the Aesthetics of

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Why look at a poem rather than an advertisement, a mirror, or a blade of grass? There are several works that seek to survey the history of aesthetics as a whole. Other theorists (for example, Schopenhauer [1958] and Stolnitz [1960]) have insisted that what marks out the aesthetic is a special kind of attitude, that should be taken to works of art but that can in theory be taken to anything whatsoever. Since the cure for homosexuality was a bust, they've moved on to having a cure for racism.

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Levinas Faces Biblical Figures

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Ask students or general readers what aesthetics is, and most will say that it has something to do with beauty (an impression reinforced by the colloquial use of aesthetic to mean "beautiful") and that it is a thing of the past. Proceduralists often suggest that it is the process by which a work of art is created or viewed that makes it art, not any inherent feature of an object, or how well received it is by the institutions of the art world after its introduction to society at large.

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The Arts and Critical Thinking in American Education

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This paper will address this question, not by giving a survey of the works of Japanese philosophers or a definition of the subject matter of Japanese philosophy, but by attempting to present how it emerged as a distinct philosophical tradition—by sketching the controversies that gave rise to its formation; the social, intellectual, and historical factors that paved the way to its development; and the revolution of thought which finally gave it the title “Japanese philosophy.” I will argue that Japanese philosophy was born not because Japanese thinkers desperately wanted a philosophy that they could call their own, but because, first and foremost, they were thinking of ways to articulate the ever changing and paradoxical nature of reality.

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