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Journal articles on the topic 'Art's philosophy'

Author: Grafiati
Published: 5 June 2025
Last updated: 1 August 2025

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1

Benjamin, Andrew. "Colouring Philosophy: Appel, Lyotard and Art's Work." Critical Horizons 11, no. 3 (2010): 379–95. http://dx.doi.org/10.1558/crit.v11i3.379.

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2

HALDANE, JOHN. "The Modernist Fallacy: philosophy as art's undoing [1]." Journal of Applied Philosophy 5, no. 2 (1988): 159–73. http://dx.doi.org/10.1111/j.1468-5930.1988.tb00239.x.

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3

Carrier, David. "Art's Spectators." Journal of Aesthetics and Art Criticism 46, no. 3 (1988): 419. http://dx.doi.org/10.2307/431113.

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4

CARRIER, DAVID. "Art's Spectators." Journal of Aesthetics and Art Criticism 46, no. 3 (1988): 419–20. http://dx.doi.org/10.1111/1540_6245.jaac46.3.0419a.

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5

Davies, Stephen. "First Art and Art's Definition." Southern Journal of Philosophy 35, no. 1 (1997): 19–34. http://dx.doi.org/10.1111/j.2041-6962.1997.tb00823.x.

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6

Monseré, Annelies. "The Charge from Psychology and Art's Definition." Theoria 82, no. 3 (2016): 256–73. http://dx.doi.org/10.1111/theo.12093.

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7

Shon, Sue. "Art's Work in Mnemonic Care." Krisis | Journal for Contemporary Philosophy 42, no. 1 (2022): 130–33. http://dx.doi.org/10.21827/krisis.42.1.38698.

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8

Tytar, Olena, and Viktoriia Alimova. "B.WALDENFELS'S RESPONSIVE TOPOGRAPHY OF FOREIGNNESS: ART'S RESPONSES TO CONTEMPORARY CHALLENGES." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 67 (June 28, 2023): 14–22. https://doi.org/10.26565/2306-6687-2023-67-02.

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The purpose of the study is to consider the topography of foreignness of Waldenfels as an example of a possible phenomenology of modern art and all the contradictions of the modern artistic image. Research methods – hermeneutics, phenomenology, responsive phenomenology of B. Waldenfels, philosophy of art, discursive and art analysis, philosophy of trauma. Scientific novelty. It is proved that modern postmodern and metamodern culture is characterized by the understanding of the Stranger and alienation. The best theoretician of the problem of the Stranger and the meeting of a person with a stran
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9

Gentry, Gerad. "Hegel's End of Art and the Artwork as an Internally Purposive Whole." Journal of the History of Philosophy 61, no. 3 (2023): 473–98. http://dx.doi.org/10.1353/hph.2023.a902880.

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abstract: Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel is able to embrace all three theses at once through a con
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10

Kholili Hasib. "Islamic Aesthetic Philosophy in Arabic Calligraphy." Journal of Calligraphy 1, no. 1 (2022): 27–37. http://dx.doi.org/10.17977/um082v1i12021p27-37.

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This article describes the aesthetic value of Arabic calligraphy or khat. This study of khat art's aesthetic value aims to reveal the model and philosophy of Arabic calligraphy as an Islamic work of art. The analysis in this article employed descriptive methods and two approaches, notably philosophical and historical. The model and philosophy of a work of Islamic art are influenced by the aqliyyah influence of an artist, according to the analysis. Because religious values influence an artist's perspective, his artwork contains an aesthetic philosophy that is also religious. For example, since
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11

Silvers, Anita. "Aesthetics for Art's Sake, Not for Philosophy's!" Journal of Aesthetics and Art Criticism 51, no. 2 (1993): 141. http://dx.doi.org/10.2307/431379.

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12

Haskins, Casey. "Kant, Autonomy, and Art for Art's Sake." Journal of Aesthetics and Art Criticism 48, no. 3 (1990): 235. http://dx.doi.org/10.2307/431766.

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13

HASKINS, CASEY. "Kant, Autonomy, and Art for Art's Sake." Journal of Aesthetics and Art Criticism 48, no. 3 (1990): 235–36. http://dx.doi.org/10.1111/1540_6245.jaac48.3.0235.

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14

Friedman, Hannah Joy. "Jusepe de Ribera's Five Senses and the Practice of Prudence." Renaissance Quarterly 74, no. 4 (2021): 1111–61. http://dx.doi.org/10.1017/rqx.2021.198.

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Painted in Rome around 1615, Jusepe de Ribera's series of half figures personifying the five senses invites a diplomatic audience associated with the Lincean Academy to a performance of prudence, a virtue meant to characterize the judgment of both art and of sensory experience. Ribera's series is new evidence for how the demonstration of prudence in conversation motivated ownership and display of art and shaped art's contribution to natural philosophy. Ribera's “Five Senses” articulates the distinction between sense and prudence, and reveals the importance of discussion, dissimulation, and soc
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15

Kim, Gi-Su. "The Meaning of the Form and Substance of Music from the Perspective of John Dewey's Art Philosophy." Korean Music Education Society 53, no. 4 (2024): 1–17. https://doi.org/10.30775/kmes.53.4.01.

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This study attempts to grasp the meaning of the form and substance of music from the perspective of John Dewey's art philosophy. John Dewey's art philosophy takes nature containing primary contribution and reality as its category. Nature acts as the source of all art's existence as well as the occurrence of form. The organization of nature's vital energies becomes a condition of form. Under this condition, the form of music is always a method of revealing the meaning of music as a fluid, dynamic, and processive aesthetic experience, and the body of music becomes a new and reinforced meaning of
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16

Lauter, Estella. "Re-enfranchising Art: Feminist Interventions in the Theory of Art." Hypatia 5, no. 2 (1990): 91–106. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00419.x.

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Feminist analyses of the roles gender has played in art lead to an alternative theory that emphasizes art's complex interactions with culture(s) rather than the autonomy within culture claimed for it by formalism. Focusing on the visual arts, 1 extrapolate the new theory from feminist research and compare it with formalist precepts. Sharing Arthur Danto's concern that art has been disenfranchised in the twentieth century by its preoccupation with theory, I claim that feminist thought re'enfranchises art by revisioning its relationship to its contexts.
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17

CLOWNEY, DAVID. "Definitions of Art and Fine Art's Historical Origins." Journal of Aesthetics and Art Criticism 69, no. 3 (2011): 309–20. http://dx.doi.org/10.1111/j.1540-6245.2011.01474.x.

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18

LI, JIXIAN. "The Intrinsic Logic of Art Management Policy Construction in the Process of Chinese-Style Modernization." ISRG Journal of Economics, Business & Management (ISRGJEBM) II, no. II (2024): 27–34. https://doi.org/10.5281/zenodo.10824753.

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<em>This study investigates the intrinsic logic underpinning art management policy construction amid the unique context of Chinese-style modernization. It explores how art's fundamental principles interact with disciplines like mathematics, philosophy, and technology, leading to innovative art forms and how these principles influence art's intrinsic meaning and the artistic process. The challenge of fostering high-quality art development involves balancing traditional cultural heritage with modernization's dynamic demands, aiming to satisfy individual aesthetic needs, affirm national cultural
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19

Schulenberg, Ulf. "Pragmatist Aesthetics and Nietzsche." Transactions of the Charles S. Peirce Society: A Quarterly Journal in American Philosophy 59, no. 2 (2023): 167–89. http://dx.doi.org/10.2979/trancharpeirsoc.59.2.02.

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Abstract: It is difficult to approach a phenomenon as complex as the renaissance of pragmatism without considering the contemporary significance of pragmatist aesthetics. At the same time, however, one ought to note that pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey's aesthetics. In pragmatist studies, the problematic consequences of Dewey's idealism in aesthetics have been insufficiently criticized. In order to confront this desideratum, pragmatist aesthetics ought to establish a dialogue with continental aesthetics. This essay
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20

Schulenberg, Ulf. "Pragmatist Aesthetics and Nietzsche." Transactions of the Charles S. Peirce Society: A Quarterly Journal in American Philosophy 59, no. 2 (2023): 167–89. http://dx.doi.org/10.2979/csp.2023.a906860.

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Abstract: It is difficult to approach a phenomenon as complex as the renaissance of pragmatism without considering the contemporary significance of pragmatist aesthetics. At the same time, however, one ought to note that pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey's aesthetics. In pragmatist studies, the problematic consequences of Dewey's idealism in aesthetics have been insufficiently criticized. In order to confront this desideratum, pragmatist aesthetics ought to establish a dialogue with continental aesthetics. This essay
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21

Korenjak, Martin. "ARS ADEO LATET ARTE SVA: WHAT IS ART'S ART?" Classical Quarterly 70, no. 1 (2020): 443–46. http://dx.doi.org/10.1017/s0009838820000233.

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Textual difficulties as well as problems of content are sometimes prone to being overlooked in famous passages, because their very familiarity tends to stifle reflection on their actual meaning. orandum est, ut sit mens sana in corpore sano (Juv. 10.356) escaped detection as an interpolation until 1970. In di, coeptis (nam uos mutastis et illa) | aspirate meis (Ov. Met. 1.2–3), the reading illas has held its place against the correct illa until 1976.
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22

Zhi-hao, Sun. "Research on the New Era Aesthetic Transformation of Traditional Chinese Arts and Crafts: The Cases Focusing on Glass Art." Humanities & Language: International Journal of Linguistics, Humanities, and Education 1, no. 1 (2023): 01–08. http://dx.doi.org/10.32734/qxkg8a66.

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Traditional craftsmanship maps out the Chinese philosophy of creation, but it has suffered during the rapid transformation of the aesthetic of industrialised, urbanised modernity. Glass art has a long history in China, but for a long time it has not been able to integrate deeply with science, but has existed as an imitation or substitute for nearby materials, so the several changes in glass art are closely linked to the entry of Western art into the Chinese art world, which is why it is defined as 'imported'. After the initial imitation of Western glass art, modern China has come to recognise
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23

Jovanovski, Thomas. "A Synthetic Formulation of Nietzsche's Aesthetic Model." Dialogue 29, no. 3 (1990): 399–414. http://dx.doi.org/10.1017/s0012217300013159.

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Nietzsche's philosophy in extenso may properly be appraised as a sustained endeavour to effect a creative sublation of Western ontology—and thus to nullify the latter's aesthetic Socratic basis—as a prerequisite toward the re-establishment of the instinct-affirming property of the post-Homeric/pre-Socratic Attic tragic paideia. Hence Nietzsche is compelled to investigate art's intrinsically twofold and ostensibly self-contradictory nature; namely, (i) its proclivity to metaphysically abstract Being and (ii) its capability to bring forth a context of ontological absence. Accordingly, paramount
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24

Hyman, Lawrence W. "Art's Autonomy Is Its Morality: A Reply to Casey Haskins on Kant." Journal of Aesthetics and Art Criticism 47, no. 4 (1989): 376. http://dx.doi.org/10.2307/431138.

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25

Hyman, Lawrence W. "Art's Autonomy Is Its Morality: A Reply to Casey Haskins on Kant." Journal of Aesthetics and Art Criticism 47, no. 4 (1989): 376–78. http://dx.doi.org/10.1111/1540_6245.jaac47.4.0376.

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26

Ma, Yinan, Yunxiang Li, and Huabin Zhang. "Revitalising Chinese Calligraphy's Unique Qualities Through the Utilization of Zen Principles and Chinese Minimalism." Humanities and Social Science Research 8, no. 3 (2025): p50. https://doi.org/10.30560/hssr.v8n3p50.

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The art and art forms defines the culture of specific group, Chinese civilization, with over 5,000 years of history, has continuously merged with diverse cultures, with Chinese characters representing its deep cultural heritage. Chinese calligraphy, a writing art using Chinese characters, has evolved with the development of Chinese character fonts, incorporating the wisdom, philosophy, humanistic spirit, and artistic aesthetics of the Chinese people. The research aims to address challenges in Chinese calligraphy, the proposed approach aims to enhance the engagement of new generations and expan
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27

Meynell, Hugo. "Art's Emotions: Ethics, Expression and Aesthetic Experience. By Damien Freeman. Pp. xi, 210, Durham, UK, Acumen Publishing, 2012." Heythrop Journal 54, no. 6 (2013): 1086–87. http://dx.doi.org/10.1111/heyj.12043_53.

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28

Kelvin, Norman. "Art for Art's Sake: Aestheticism in Victorian Painting, by Elizabeth Prettejohn." Victorian Studies 50, no. 4 (2008): 743–45. http://dx.doi.org/10.2979/vic.2008.50.4.743.

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29

Kieran, Matthew, Linda Weintraub, Arthur C. Danto, and Thomas McEvilley. "Art on the Edge and over: Searching for Art's Meaning in Contemporary Society, 1970s-1990s." Journal of Aesthetics and Art Criticism 56, no. 4 (1998): 412. http://dx.doi.org/10.2307/432138.

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30

KIERAN, MATTHEW. "Linda Weintraub, Ed., Art on The Edge and Over: Searching for Art'S Meaning in Contemporary Society, 1970S-1990S." Journal of Aesthetics and Art Criticism 56, no. 4 (1998): 412–13. http://dx.doi.org/10.1111/1540_6245.jaac56.4.0412.

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31

MOORE, RONALD. "Freeman, Damien. Art's Emotions: Ethics, Expression and Aesthetic Experience. McGill-Queen's University Press, 2012, xii + 210 pp., $27.95 paper." Journal of Aesthetics and Art Criticism 71, no. 2 (2013): 229–32. http://dx.doi.org/10.1111/jaac.12011_9.

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32

Ismail, Roslina, and Dzul Afiq Zakaria. "MUJARAD AS A MANIFESTATION OF ONENESS OF GOD (TAWHEED) IN THE MODERN ISLAMIC ART OF MALAYSIA AND INDONESIA." Journal of Southeast Asian Studies 27, no. 2 (2022): 101–26. https://doi.org/10.22452/jati.vol27no2.5.

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Islamic art is a subgenre of contemporary art popular in Muslim-majority Southeast Asian countries such as Malaysia and Indonesia. Due to Islamic art's unique position within this genre, it is widely assumed that the aesthetic challenge of Islamic art can be traced back to a fundamental Islamic precept. However, as several academics have pointed out, there is no agreement on what the term "Islamic arts" means. In this study, we hope to describe Islamic art and show how its aesthetic qualities (its "spirituality") reflect the dominant worldviews at the time it was created (its "zeitgeist"). Som
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33

Do Egito, Tinatin. "Ignatius Loyola and Konstantin Stanislavsky in the interpretation of Sergey Eisenstein: from mystical ecstasy to editing." St. Tikhons' University Review 103 (October 31, 2022): 87–107. http://dx.doi.org/10.15382/sturi2022103.87-107.

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The article examines the point of Soviet art's 1920-1930 influence on secular processes in society. The model of the psychology of art proposed by L. Vygotsky, based on Marxist dogmatics, becomes the starting point for the search of creative elite, particularly, for the film director and art theorist Sergei Eisenstein. They are brought together by a common understanding of art as a sign system aimed at awakening strong emotional disturbances in a person, the culmination of which is by Eisenstein's opinion ecstasy, from Vygotsky's point of view - catharsis. Scientists of the Vygotsky's circle,
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34

Donatelli, Marisa C. de O. F. "Descartes: artes mecânicas e filosofia [Mechanica Arts and Philosophy]." Revista Ágora Filosófica 1, no. 1 (2012): 115–33. http://dx.doi.org/10.25247/p1982-999x.2012.v1n1.p115-133.

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Neste trabalho, pretende-se abordar a defesa da utilidade do conhecimento em Descartes, considerando aquilo que o fi lósofo entende como ‘conhecimentos que sejam úteis à vida’, porém não a partir de um enfoque moral, mas com ênfase no planejamento de construção de máquinas e artefatos que, além de auxiliarem a ciência, facilitem o trabalho dos homens. Tal propósito pode ser encontrado em alguns textos do fi lósofo, dos quais se destaca o pequeno tratado sobre as mecânicas que compõem a carta a Huygens de 5 de outubro de 1637, as duas partes fi nais do Discurso do Método e o discurso X da Diópt
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35

Zhao, Shaolu, Margarita Ivanovna Gomboeva, and Xiao Lei Tian. "Modern Chinese Xieyi painting: philosophical and historical-cultural context." Manuscript 18, no. 1 (2025): 412–20. https://doi.org/10.30853/mns20250059.

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The objective of this research is to gain new knowledge about the changes in artistic language and terminology used to describe the philosophical concepts of Xieyi, as well as about the updating of texts and the system of representation of the basic philosophical and cultural principles, tenets, and contexts of traditional Xieyi. The ideological and philosophical basis of Xieyi painting is the philosophical and aesthetic principles of the Daoist concept of "art for art's sake". The article analyzes artistic receptions of ancient cultural traditions and types of artistic innovation. The philoso
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36

Lazarev, Maxim. "On the question of the relation between philosophical and imaginative cognition of the world." Humanity space. International almanac 2, no. 4 (2013): 666–74. https://doi.org/10.24412/FhgQ21XClUg.

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This article attempts to analyze the issue of philosophy of Art culture. It is examined the similarities and differences between the laws of philosophical and artistic cognition. The issues of artistiac&nbsp;worldview, art and culture, as well as parts of culture are described.
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37

Kreft, Lev. "Hook to the Chin." Physical Culture and Sport. Studies and Research 46, no. 1 (2009): 70–78. http://dx.doi.org/10.2478/v10141-009-0005-1.

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Hook to the ChinWithin historical avant-garde movements from the beginning of the 20th century, a curious taste and fascination for boxing burst out, and developed later into the claim that art must become more similar to boxing, or to sport in general. This fascination with pugilism in the early stage of its popularity on the continent included such charismatic figures of the Parisian avant-garde as Arthur Cravan, who was Oscar Wilde's nephew, a pretty good boxer and an unpredictable organizer of proto-dada outrages and scandals.After WWI, the zenith of artists' and intellectuals' love for bo
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38

Dedic, Nikola. "Film and skepticism Cavell’s „correction“ of poststructuralist philosophy of arts." Filozofija i drustvo 26, no. 1 (2015): 205–25. http://dx.doi.org/10.2298/fid1501205d.

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The main aim of this paper is the critique of poststructuralist theory of art, and particularly thesis about the avant-garde peace of art as a kind of transgression. As a starting point of this critique, the ordinary language philosophy developed by American philosopher Stanley Cavell is used, particularly his film theory. While poststructuralist philosophy was developed around the notion of ideology, Cavell interprets film and arts in general around the notion of skepticism. While poststructuralism, because of thesis about avant-garde as a kind of transgression within the field of ideology, i
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39

Wylie, Alison. "Between Philosophy and Archaeology." American Antiquity 50, no. 2 (1985): 478–90. http://dx.doi.org/10.2307/280505.

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The journal of the Philosophy of Science Association,Philosophy of Science, celebrates its fiftieth anniversary this year, and in honor of this has reprinted the Table of Contents from its first issue as well as the lead article, “On the Character of Philosophic Problems” by Rudolf Carnap (1984). Carnap's object in this article is to determine just whatphilosophicalproblems in science are. He took this to be a question about what distinguishes the “standpoint” of a philosopher from that of the empirical investigator (1984:6). He begins with the observation that “philosophers have ever declared
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40

Segovia, Carlos. "El texto que obra: La filosofía como (si) arte." Differenz, no. 5 (2019): 91–118. http://dx.doi.org/10.12795/differenz.2019.i05.05.

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Este texto lee, desde el punto de vista de Derrida, la controversia entre Heidegger y Schapiro acerca de ciertas botas pintadas por Van Gogh. Se discute aquí la maniobra del especialista como apropiación indebida cuando Schapiro dice de forma implícita y perversa: yo soy el dueño de las botas de Van Gogh. Se discute el concepto de verdad que Heidegger propone para el arte. Finalmente, se propone la figura del filósofo como escritor y, por tanto, como artista.
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Marcelli, Miroslav. "Philosophy, Image, Arts." Human Affairs 15, no. 1 (2005): 5–11. http://dx.doi.org/10.1515/humaff-2005-150103.

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42

Thorgersen, Ketil. "Possibilism and Expectations in Arts Education." European Journal of Philosophy in Arts Education 1 2016, no. 1 (2016): 96–108. https://doi.org/10.5281/zenodo.2173660.

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Published in the European Journal of Philosophy of Arts Education. Abstract: This article is an attempt to explore some thoughts regarding how different kinds and levels of expectation might (re)construct being in music education. The philosophical lenses through which this is analysed consist of a combination of a Deweyan pragmatism, the possibilistic parts of the philosophy of the Norwegian philosopher Arne N&aelig;ss who draws on Spinoza and finally parts of the philosophy of Deleuze &amp; Guettari. A claim made in the article is that it is important in arts educationto challenge the expect
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Pirc, Tadej. "What is African Philosophy?" Ars & Humanitas 12, no. 1 (2018): 189–203. http://dx.doi.org/10.4312/ah.12.1.189-203.

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The article focuses on the concept of African philosophy. I enter the discussion with some of the earliest texts that we can classify both as philosophical and of African origin. I proceed with an overview of four approaches to philosophising in Africa, as identified by Henry Oruka (ethno-philosophy, philosophic sagacity, nationalist-ideological philosophy, and professional philosophy) and, in reference to other categorisations, emphasise the critique by Peter Bodunrin, who attributes the status of true philosophy exclusively to professional or academic philosophy. The explication makes it evi
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Pirc, Tadej. "What is African Philosophy?" Ars & Humanitas 12, no. 1 (2018): 189–203. http://dx.doi.org/10.4312/ars.12.1.189-203.

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The article focuses on the concept of African philosophy. I enter the discussion with some of the earliest texts that we can classify both as philosophical and of African origin. I proceed with an overview of four approaches to philosophising in Africa, as identified by Henry Oruka (ethno-philosophy, philosophic sagacity, nationalist-ideological philosophy, and professional philosophy) and, in reference to other categorisations, emphasise the critique by Peter Bodunrin, who attributes the status of true philosophy exclusively to professional or academic philosophy. The explication makes it evi
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PUCHNER, MARTIN. "The Theatre of Alain Badiou." Theatre Research International 34, no. 3 (2009): 256–66. http://dx.doi.org/10.1017/s0307883309990058.

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This article examines the relation between philosophy and theatre in the work of French philosopher Alain Badiou. First, it focuses on Badiou's central categories, such as event and character, that resonate with the theatre. Second, Badiou's own engagement with the theatre, the place theatre occupies in his philosophical world, is identified. Finally, the article argues that Badiou's thought must be understood as a return to Plato. Plato here is understood not as an enemy of theatre, but as a philosopher who invented philosophy through a constant, if often critical, engagement with the theatre
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46

Hawley, William M. "Philosophy and the Arts." European Legacy 21, no. 3 (2016): 345–46. http://dx.doi.org/10.1080/10848770.2016.1139342.

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47

Miller, Elaine P. "Philosophy of the Arts." Teaching Philosophy 23, no. 2 (2000): 222–26. http://dx.doi.org/10.5840/teachphil200023237.

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48

Eisenberg, Merle, and David Jenkins. "The philosophy of Constantine the Philosopher of Nicaea." Byzantinische Zeitschrift 114, no. 1 (2021): 139–62. http://dx.doi.org/10.1515/bz-2021-9006.

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Abstract The two extant works of Constantine the Philosopher of Nicaea reveal a late twelfth century thinker of the Neoplatonic sensibility typically seen only in those who reached the pinnacle of Byzantine literacy during this period. We argue that he is of particular interest because he coined two philosophical terms that, while mirroring controversial Neoplatonic concepts, better accommodate their Orthodox acceptance.We offer here some background on the author, a short discussion of the philosophical content of these works, and for the first time an English translation of both texts.
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49

Wilson, Trevor. "No More Godmen: Alexandre Kojève, Atheism, and Vladimir Solov΄ev." Slavic Review 81, no. 4 (2022): 1016–36. http://dx.doi.org/10.1017/slr.2023.1.

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Prior to his influential seminars on G.W.F. Hegel's Phenomenology of Spirit in the 1930s, the philosopher Alexandre Kojève was still Aleksandr Kozhevnikov, a recent émigré to Germany who studied the philosophy of Vladimir Solov΄ev in Heidelberg. As a result, Kojève published several articles in French and German on Solov΄ev's philosophy of history and divine Sophia. While he soon developed his own reputation as a celebrated philosopher, posthumously published works such as Atheism (1931) and the forthcoming publication of a manuscript written in 1940 and devoted once more to “Sophia,” suggest
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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25520.

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The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosoph
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