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Artigos de revistas sobre o tema "Philosophy of art"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 27 de julho de 2024

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1

Süzen, Hatice Nilüfer, e Nuray Mamur. "Reflection of “Philosophy” on Art and Philosophy of Art". Procedia - Social and Behavioral Sciences 122 (março de 2014): 261–65. http://dx.doi.org/10.1016/j.sbspro.2014.01.1339.

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2

Cooper, Neil. "The Art of Philosophy". Philosophy 66, n.º 256 (abril de 1991): 169–75. http://dx.doi.org/10.1017/s0031819100053043.

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Any account of knowledge has to take account both of the contribution of the world and the contribution of man. Every human endeavour, every activity, every art, every science is a product of a unique interaction between man and the world. Where man is most passive, he merely reflects and reports the world; this is pure discovery, if it ever exists. Where man is most active, the world's contribution lies merely in the provision of the raw material; this is pure invention, if it ever exists. All the arts, all the sciences can be ordered in a continuous array or spectrum ranging from pure discovery to pure invention. That they are all at some point on this continuum gives them a common but fragile thread, justifying our thinking and talking of the unity of the arts and sciences. Philosophy is neither pure discovery nor pure invention; it bears resemblances to both a science and an art. In this paper I propose to try to give reasons why we should regard the philosopher as an artist and philosophy as an art; or, at any rate, I shall try to show that there is an Art of Philosophy.

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3

Dahlstrom, Daniel O. "Philosophy and Art". Journal of Aesthetics and Art Criticism 53, n.º 1 (1995): 101. http://dx.doi.org/10.2307/431750.

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4

Somerville, James. "Philosophy of Art". International Philosophical Quarterly 41, n.º 3 (2001): 375–77. http://dx.doi.org/10.5840/ipq200141326.

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5

Goehr, Lydia. "Philosophy Without Art". New Nietzsche Studies 8, n.º 1 (2009): 34–57. http://dx.doi.org/10.5840/newnietzsche2009/201081/24.

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6

D'Amico, R. "Philosophy for Art". Telos 1987, n.º 74 (1 de janeiro de 1987): 177–83. http://dx.doi.org/10.3817/1287074177.

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7

Negrin, Llewellyn. "Art and philosophy". Philosophy & Social Criticism 31, n.º 7 (novembro de 2005): 801–22. http://dx.doi.org/10.1177/0191453705057304.

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8

Seel, Gerhard. "Rethinking Art and Philosophy of Art". Journal of Philosophical Research 37, n.º 9999 (2012): 77–84. http://dx.doi.org/10.5840/jpr201237supplement27.

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9

Bulkina, Polina, e Hanna Novik. "PHILOSOPHY OF THE ART OF LAND ART". Theory and practice of design, n.º 26 (2022): 268–74. http://dx.doi.org/10.32782/2415-8151.2022.26.32.

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10

Havas, Randall E., e Julian Young. "Nietzsche's Philosophy of Art." Philosophical Review 103, n.º 2 (abril de 1994): 377. http://dx.doi.org/10.2307/2185753.

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11

Lucy, Niall. "Art, Criticism & Philosophy". International Journal of the Arts in Society: Annual Review 4, n.º 6 (2010): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v04i06/35762.

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12

Maertz, Gregory, e Julian Young. "Nietzsche's Philosophy of Art". German Studies Review 18, n.º 1 (fevereiro de 1995): 154. http://dx.doi.org/10.2307/1431538.

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13

Elveton, Roy, e Julian Young. "Heidegger's Philosophy of Art". German Studies Review 26, n.º 2 (maio de 2003): 423. http://dx.doi.org/10.2307/1433369.

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14

Taylor, Charles Senn, e Julian Young. "Nietzsche's Philosophy of Art". Journal of Aesthetics and Art Criticism 51, n.º 1 (1993): 81. http://dx.doi.org/10.2307/431979.

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15

Czarnocka, Małgorzata. "Art as a Philosophy". Dialogue and Universalism 28, n.º 1 (2018): 5–7. http://dx.doi.org/10.5840/du20182811.

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16

Higgins, Kathleen Marie, e Julian Young. "Nietzsche's Philosophy of Art." Philosophical Quarterly 43, n.º 173 (outubro de 1993): 543. http://dx.doi.org/10.2307/2220002.

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17

Rée, Jonathan. "Philosophy as an Art". Philosophers' Magazine, n.º 41 (2008): 29–37. http://dx.doi.org/10.5840/tpm20084173.

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18

Roche, Mark W., Friedrich Wilhelm Joseph Schelling e Douglas W. Stott. "The Philosophy of Art". German Quarterly 64, n.º 3 (1991): 385. http://dx.doi.org/10.2307/406404.

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19

Benda, Gisela, e Julian Young. "Nietzsche's Philosophy of Art". German Quarterly 67, n.º 2 (1994): 269. http://dx.doi.org/10.2307/408423.

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20

del Caro, Adrian. "Nietzsche’s Philosophy of Art". International Studies in Philosophy 27, n.º 2 (1995): 146–47. http://dx.doi.org/10.5840/intstudphil1995272128.

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21

Duncan, Elmer H., Friedrich Wilhelm Joseph Schelling e Douglas W. Stott. "The Philosophy of Art". Leonardo 25, n.º 2 (1992): 225. http://dx.doi.org/10.2307/1575731.

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22

Best, David. "Mind, Art, and Philosophy". Journal of Aesthetic Education 20, n.º 3 (1986): 5. http://dx.doi.org/10.2307/3332429.

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23

Levinson, Jerrold. "Philosophy as an Art". Journal of Aesthetic Education 24, n.º 2 (1990): 5. http://dx.doi.org/10.2307/3332779.

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24

Owens, Wayne D. "HEIDEGGER'S PHILOSOPHY OF ART". British Journal of Aesthetics 29, n.º 2 (1989): 128–39. http://dx.doi.org/10.1093/bjaesthetics/29.2.128.

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25

Davey, N. "Heidegger's Philosophy of Art". British Journal of Aesthetics 44, n.º 2 (1 de abril de 2004): 202–4. http://dx.doi.org/10.1093/bjaesthetics/44.2.202.

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26

Brandl, Mark Staff. "Art, Philosophy and Comics". Art Book 8, n.º 2 (março de 2001): 26–28. http://dx.doi.org/10.1111/1467-8357.00241.

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27

Melville, Stephen. "‘Art and Objecthood’, Philosophy". Journal of Visual Culture 16, n.º 1 (abril de 2017): 12–19. http://dx.doi.org/10.1177/1470412916689485.

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This article explores the relations between philosophy, criticism and art history in the work of Arthur Danto, on the one hand, and Stanley Cavell and Michael Fried on the other, arguing that in the 50 years since the publication of ‘Art and Objecthood’, that essay’s terms of argument and expression have become increasingly hard to make out.

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28

Ginsberg, Robert. "The Philosophy of Art". Idealistic Studies 22, n.º 3 (1992): 250–51. http://dx.doi.org/10.5840/idstudies199222345.

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29

KAMBER, RICHARD. "Experimental Philosophy of Art". Journal of Aesthetics and Art Criticism 69, n.º 2 (maio de 2011): 197–208. http://dx.doi.org/10.1111/j.1540-6245.2011.01461.x.

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30

Eaton, A. W. "Feminist Philosophy of Art". Philosophy Compass 3, n.º 5 (setembro de 2008): 873–93. http://dx.doi.org/10.1111/j.1747-9991.2008.00154.x.

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31

Livingston, P. "The Philosophy of Art". British Journal of Aesthetics 46, n.º 4 (1 de outubro de 2006): 431–33. http://dx.doi.org/10.1093/aesthj/ayl026.

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32

Hanson, L. "Philosophy and Conceptual Art". British Journal of Aesthetics 48, n.º 2 (1 de abril de 2008): 229–31. http://dx.doi.org/10.1093/aesthj/ayn007.

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33

Cashell, Kieran. "Heidegger’s Philosophy of Art". Journal of Critical Realism 13, n.º 1 (fevereiro de 2014): 84–97. http://dx.doi.org/10.1179/1476743013z.00000000016.

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34

Anderson, Tom, e Edmund Burke Feldman. "Philosophy of Art Education". Journal of Aesthetic Education 32, n.º 3 (1998): 116. http://dx.doi.org/10.2307/3333314.

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35

Coker, John C., e Julian Young. "Nietzsche's Philosophy of Art". Journal of Aesthetic Education 28, n.º 4 (1994): 107. http://dx.doi.org/10.2307/3333372.

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36

Feagin, Susan L. "Philosophy and Art Education". Journal of Aesthetic Education 29, n.º 2 (1995): 7. http://dx.doi.org/10.2307/3333449.

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37

Hawthorn, Elwyn W. "Art and Visual Philosophy". Journal of Aesthetic Education 29, n.º 1 (1995): 95. http://dx.doi.org/10.2307/3333521.

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38

Sartwell, Crispin. "The Philosophy of Art". Teaching Philosophy 18, n.º 4 (1995): 387–88. http://dx.doi.org/10.5840/teachphil199518463.

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39

Worth, Sarah E. "Philosophy of Mass Art". Teaching Philosophy 23, n.º 1 (2000): 91–93. http://dx.doi.org/10.5840/teachphil200023110.

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40

LEVINSON, J. "Art, Value, and Philosophy". Mind 105, n.º 420 (1 de outubro de 1996): 667–82. http://dx.doi.org/10.1093/mind/105.420.667.

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41

Carman, T. "Heidegger's Philosophy of Art". Philosophical Review 112, n.º 4 (1 de outubro de 2003): 575–80. http://dx.doi.org/10.1215/00318108-112-4-575.

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42

Phillips, John W. P. "Art, Politics and Philosophy". Theory, Culture & Society 27, n.º 4 (julho de 2010): 146–60. http://dx.doi.org/10.1177/0263276409349284.

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43

Sharma, Yam Prasad. "Philosophy in Art Research". Journal of Fine Arts Campus 4, n.º 1 (31 de dezembro de 2022): 12–17. http://dx.doi.org/10.3126/jfac.v4i1.51743.

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Philosophy is the exploration, quest or search of truth, essence, idea or a thing that has certain value. In art research, there is a question, and we search for the answer. The answer is the essence. Ontology is the study of essence or existence. There is a method to find the truth or essence. Epistemology is the study of method or way of finding truth. What is the use or value of the truth to the researcher and the society? Does it teach or help us in our life? Does it provide us beauty and pleasure? Axiology is the study of the value of the research. There is a problem in a research area. We search for the solution of the problem. We have a method of solving the problem. The solution has certain impact on the society. The research area is explored from certain perspective. This article attempts to clarify the connection of philosophy and research methodology in the research of arts and humanities.

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44

Titarenko, E. M. "“Real Deed of an Artist” and Philosophy of Art: Solovyev – Fyodorov – Chekrygin". Solov’evskie issledovaniya, n.º 4 (28 de dezembro de 2023): 132–46. http://dx.doi.org/10.17588/2076-9210.2023.4.132-146.

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The article is dedicated to the aesthetic views of an artist and philosopher V.N. Chekrygin (1897–1922). His ideas are compared to the philosophy of art of V.S. Solovyev and N.F. Fyodorov. Theoretical heritage of the artist is analyzed, it reflects understanding of the tasks of creativity, history and language of the visual art. The research is based on the texts of Chekrygin: “A Manifest of the Painters (1920)”, “The Program of One-year Course on Art Philosophy” (1920), “About Upcoming New Era of the All-European Art” (1921), “About Convocation of the Resurrecting Museum’ (1921), and his epistolary art. Little-known materials from the archive are considered. Studying aesthetic works of Fyodorov and Solovyev allows to make comparative-typological research of the artist and philosopher of art. The connection is shown between Chekrygin’s ideas and aesthetic tradition of the Russian religious philosophy. Signs of aesthetics of Christian universalism can be seen in his project of a new era of the art. The idea of the project of “living art” of Chekrygin is opposed to the research of avantgarde art and it was inspired by the ideas of conciliarity and theurgy. It is shown that philosophical-aesthetic ideas of the artist are close to the philosophy of art of V.S. Solovyov and even more to the doctrine of the aesthetic supramoralism of Fyodorov. The research discloses particularities of the aesthetic ideas of the artist, which are permeated with the spirit of eschatological anxiety. Chekrygin shows the way that modern art should follow referring to the topics of theophany, to the process of contemplation of the space evolvement and the creation of the church-museum of the universal resurrection. It is proved that the artist creates the image of the final ideal of art conceiving the philosophical ideas of Solovyov and Fyodorov. It is proved that the artist remains in line with modernism discourse at the same time creating the outlines of the art of the future.

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45

Szabo, Andre. "Andre Bogart Szabo Art Images". Agonist 15, n.º 2 (31 de agosto de 2021): 91–100. http://dx.doi.org/10.33182/agon.v15i2.1456.

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see art images. My works on canvas celebrate concepts presented in Nietzsche's ‘The Birth of Tragedy,’ particularly the duality between Apollo and Dionysus (order/disorder, rational logic/amorous frenzy...consider Dionysus as presented in Euripedes’ The Bacchae). In addition, my work is inspired in part by the ‘excremental philosophy’ of Georges Bataille, a philosopher who wrote extensively on Nietzsche.

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46

Kook, Soon-Ah. "Art and Communication - On Dewey’s Philosophy of Art -". Journal of the New Korean Philosophical Association 113 (31 de julho de 2023): 17–38. http://dx.doi.org/10.20433/jnkpa.2023.07.17.

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47

Hübner, Kurt. "Philosophy of Modern Art and Philosophy of Technology". Society for Philosophy and Technology Quarterly Electronic Journal 4, n.º 1 (1998): 21–27. http://dx.doi.org/10.5840/sptq19984123.

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48

Heyd, Thomas. "UNDERSTANDING PERFORMANCE ART: ART BEYOND ART". British Journal of Aesthetics 31, n.º 1 (1991): 68–73. http://dx.doi.org/10.1093/bjaesthetics/31.1.68.

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49

Moravcsik, Julius M. "Art and 'Art'". Midwest Studies in Philosophy 16 (1991): 302–13. http://dx.doi.org/10.1111/j.1475-4975.1991.tb00245.x.

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50

Lopes, D. M. "Art Without 'Art'". British Journal of Aesthetics 47, n.º 1 (1 de janeiro de 2007): 1–15. http://dx.doi.org/10.1093/aesthj/ayl035.

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