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Journal articles on the topic 'Arts – Philosophy'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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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2

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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3

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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4

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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5

Hatt, Michael, and Hugh J. Silverman. "Postmodernism: Philosophy and the Arts." Modern Language Review 88, no. 1 (1993): 150. http://dx.doi.org/10.2307/3730801.

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6

Cheetham, Mark A., and Dale Jacquette. "Schopenhauer, Philosophy, and the Arts." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 447. http://dx.doi.org/10.2307/430944.

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7

Shapiro, Gary. "Nietzsche, Philosophy and the Arts." New Nietzsche Studies 5, no. 1 (2002): 154–56. http://dx.doi.org/10.5840/newnietzsche200251/211.

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8

Mase, Hiromasa. "Ecophilosophy as Liberal Arts Philosophy." Philosophical Inquiry 11, no. 1 (1989): 28–36. http://dx.doi.org/10.5840/philinquiry1989111/27.

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9

Gardiner, Patrick. "Schopenhauer, Philosophy, and the Arts." International Studies in Philosophy 31, no. 3 (1999): 145–47. http://dx.doi.org/10.5840/intstudphil199931361.

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10

Huss, Boaz. "Cosmic Philosophy and the Arts." Nova Religio 19, no. 4 (2016): 102–18. http://dx.doi.org/10.1525/nr.2016.19.4.102.

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This article discusses the nexus between art and occultism in the Idéal et Réalité group, which was active in Paris in the third decade of the twentieth century and attracted many prominent writers, poets, actors, and artists. The Idéal et Réalité group emerged from the early twentieth-century esoteric Le Mouvement Cosmique, and it was much influenced by its Cosmic Philosophy. The Cosmic Movement was founded by Max Théon and his wife Théona (Mary Ware) in the first decade of the twentieth century. Art and literature were important in the philosophy and practice of both the Cosmic Movement and

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11

Rothfield, Philipa. "Philosophy and the Bodily Arts." Parallax 14, no. 1 (2008): 24–35. http://dx.doi.org/10.1080/13534640701781347.

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12

Cauvel, Jane. "Philosophy Looks at the Arts." Teaching Philosophy 11, no. 4 (1988): 355–56. http://dx.doi.org/10.5840/teachphil198811482.

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13

Dong, Feng. "Philosophy by Other Means: The Arts in Philosophy and Philosophy in the Arts by Robert B. Pippin (review)." Modern Language Review 119, no. 3 (2024): 401–2. http://dx.doi.org/10.1353/mlr.2024.a930819.

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14

Sbriglia, Russell. "Robert B. Pippin, Philosophy by Other Means: The Arts in Philosophy and Philosophy in the Arts." American Literary History 35, no. 2 (2023): 1068–70. http://dx.doi.org/10.1093/alh/ajad063.

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15

Gulla, Amanda N., Holly C. Fairbank, and Stephen M. Noonan. "Maxine Greene: an Approach to Aesthetic Education and a Vision of Social Imagination." Beijing International Review of Education 4, no. 3 (2022): 479–90. http://dx.doi.org/10.1163/25902539-04030014.

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Abstract In this article we will introduce the reader to Dr. Maxine Greene and her philosophy of Aesthetic Education developed during her many years of teaching at Columbia University’s Teachers College. Greene saw the arts as “integral to the development of persons – to their cognitive, perceptual, emotional, and imaginative development” (2001, p. 7)+. Her theories about the arts in education were developed into a methodology and practice at the Lincoln Center Institute for the Arts in Education (lci), the educational branch of Lincoln Center for the Performing Arts in New York City. lci was

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16

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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17

Brown, Jeffrey N. "Integrating Eisner's Arts Education Philosophy into Culinary Arts Education." Journal of Culinary Science & Technology 4, no. 1 (2005): 89–99. http://dx.doi.org/10.1300/j385v04n01_10.

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18

Priest, Graham. "The Martial Arts and Buddhist Philosophy." Royal Institute of Philosophy Supplement 73 (August 21, 2013): 17–28. http://dx.doi.org/10.1017/s1358246113000246.

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My topic concerns the martial arts – or at least the East Asian martial arts, such as karatedo, taekwondo, kendo, wushu. To what extent what I have to say applies to other martial arts, such as boxing, silat, capoeira, I leave as an open question. I will illustrate much of what I have to say with reference to karatedo, since that is the art with which I am most familiar; but I am sure that matters are much the same with other East Asian martial arts.

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19

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 Næss who draws on Spinoza and finally parts of the philosophy of Deleuze & Guettari. A claim made in the article is that it is important in arts educationto challenge the expect

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20

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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21

Alperson, Philip A. "The Philosophy of the Visual Arts." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 525. http://dx.doi.org/10.2307/431529.

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22

Seigfried, Hans. "Nietzsche, Philosophy and the Arts (review)." Journal of the History of Philosophy 37, no. 4 (1999): 686–88. http://dx.doi.org/10.1353/hph.2008.0857.

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23

Kroon, F. "Review: Imagination, Philosophy, and the Arts." Mind 113, no. 451 (2004): 559–62. http://dx.doi.org/10.1093/mind/113.451.559.

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24

Massumi, Biran. "Activist Philosophy and the Occurent Arts." AM Journal of Art and Media Studies, no. 3 (June 15, 2013): 50–60. http://dx.doi.org/10.25038/am.v0i3.35.

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This text deals with a number of interrelated concepts – from something doing to the bare fact of activity, from bare activity to event and change, from change to potential and the production of the new, from production of the new to process as becoming. But process of becoming is also self-creation, and as such is double. It consists of relational and qualitative dimensions, which are also in their turn political and aesthetic, that is aesthetico-political and speculative-pragmatic. Practices we call politics and practices we call art are all integrally aesthetico-political, and every aesthet

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25

Stecker, Robert, Peter A. French, Theodore E. Uehling, and Howard K. Wettstein. "Midwest Studies in Philosophy. Vol. 16, Philosophy and the Arts." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 519. http://dx.doi.org/10.2307/431527.

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26

Fuyarchuk, Andrew. "Literature, Arts, Science and Humanity: Chinese Philosophy as Contemporary Philosophy." Journal of Chinese Philosophy 51, no. 2-3 (2025): 95–98. https://doi.org/10.1163/15406253-12340132.

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27

Holt, Jason. "Physical Philosophy: Martial Arts as Embodied Wisdom." Philosophies 8, no. 1 (2023): 14. http://dx.doi.org/10.3390/philosophies8010014.

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While defining martial arts is not prerequisite to philosophizing about them, such a definition is desirable, helping us resolve disputes about the status of hard cases. At one extreme, Martínková and Parry argue that martial arts are distinguished from both close combat (as unsystematic) and combat sports (as competitive), and from warrior arts (as lethal) and martial paths (as spiritual). At the other extreme, mixed martial arts pundits and Bruce Lee speak of combat sports generally as martial arts. I argue that the fine-grained taxonomy proposed by Martínková and Parry can be usefully suppl

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28

Cooper, Neil. "The Art of Philosophy." Philosophy 66, no. 256 (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 discov

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29

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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30

Böhler, Arno, Eva-Maria Aigner, and Elisabeth Schäfer. "Introduction: Philosophy On Stage: The Concept of Immanence in Contemporary Art and Philosophy." Performance Philosophy 3, no. 3 (2017): 563. http://dx.doi.org/10.21476/pp.2017.33191.

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This special issue of the Performance Philosophy journal—the first bilingual edition in German and English—is one output of the research project “Artist-Philosophers. Philosophy AS Arts-based Research”, funded by the Austrian Science Fund (FWF): AR275-G21 in the context of the Programme for Arts-based Research (PEEK). A main question of the project was: “What happens to the traditional image of philosophy, once philosophers start to stage philosophy and implement arts-based practices into their discipline?” Starting from the philosophical assumption that meanings and possibilities are generate

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31

DiSalvo, Carl Francis. "Philosophy and Visual Representation: Imaging the Impossible." Leonardo 32, no. 2 (1999): 83–86. http://dx.doi.org/10.1162/002409499553019.

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Visualization techniques used in science and the arts for the advanced analysis of information and theories can and should be similarly used in the humanities. Within the discipline of philosophy there are both the possibility and the necessity to examine and present ideas using visualization techniques. The author created a CD-ROM entitled Blinded … in an attempt to use visualization techniques to analyze and represent a metaphysical action proposed by the French philosopher George Bataille. He discusses the creation of that work and the theories involved in the conjunction of philosophy and

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32

Nowak, Witold. "Stefan Harassek and the problems of contemporary philosophy." Galicja. Studia i materiały 8 (2022): 248–63. http://dx.doi.org/10.15584/galisim.2022.8.17.

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The influence of the national factor on philosophy is expressed in two models of the history of philosophy: the problem-oriented and the culturalist one. The culturalist variety of the history of philosophy includes not only the problems themselves, the ways in which they are solved and the reconstruction of the argumentation, but also the entire cultural context of a given philosophical oeuvre. Among factors influencing philosophy, the analysis also includes the national tradition in which the philosopher is situated. A culturalist history of philosophy requires a high degree of cultural comp

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33

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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34

Sidorov, Leonid G. "Philosophy of Management: between Science and Arts." Voprosy Filosofii, no. 9 (2021): 37–48. http://dx.doi.org/10.21146/0042-8744-2021-9-37-48.

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The article deals with the problems of philosophy of management as a science and art. The concept of “inspirational management” is introduced. The inspirational concept of management is an alternative to the bureaucratic, technocratic approach to managing an organization. Inspirational management is carried out as inspiration, incentive, morally oriented communication. Inspirational management is studied on the basis of methods of dialectics and synergy. In order to identify the features of the interaction of sensual and rational, artificial and natural in management, the concepts of F. Tayl

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35

Anderson, Robert. "Martial Arts and Philosophy: Beating and Nothingness." Australasian Journal of Philosophy 90, no. 4 (2012): 820. http://dx.doi.org/10.1080/00048402.2012.688981.

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36

Kambarov, Nodirjon Sattarovich. "PHILOSOPHY OF THE UZBEK NATIONAL MARTIAL ARTS." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 3, no. 6 (2023): 916–21. https://doi.org/10.5281/zenodo.8055021.

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V dannoy state rassmatrivayutsya uzbek vostochnye edinoborstva, ix razvitie i ix philosophiskie vzglyady. Uzbek Eastern martial arts play an important role in the physical, mental, emotional and aesthetic education of a person. V state otmechaetsya znachenie vostochnyx uzbekskikh edinoborstv v vospitanii vsestoronne razvitoy lichnosti.

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37

Chien, Ting Fang, and Hsiu-Chun Yang. "Arts in transformative learning: an arts-based duoethnography." Reflective Practice 20, no. 5 (2019): 619–36. http://dx.doi.org/10.1080/14623943.2019.1651714.

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38

Garrett, Don. "The literary arts in Hume's science of the fancy." Kriterion: Revista de Filosofia 44, no. 108 (2003): 161–79. http://dx.doi.org/10.1590/s0100-512x2003000200002.

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Philosophers have long disagreed about whether poetry, drama, and other literary arts are important to philosophy; and among those who believe that they are important, explanations of that importance have differed greatly. This paper aims to explain and illustrate some of the reasons why Hume found literature to be an important topic for philosophy and philosophers. Philosophy, he holds, can help to explain general and specific literary phenomena, to ground the science of criticism, and to suggest and justify ";principles of art,"; while at the same time literature can provide valuable ";exper

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39

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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40

ASATRYAN, Anna. "Georg Brutian and NAS RA Institute of Arts." WISDOM 7, no. 2 (2016): 131–35. http://dx.doi.org/10.24234/wisdom.v7i2.146.

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The author recounts the cooperation of the academician Georg Brutian with the Institute of Arts, NAS RA. In particular, the scientific symposium, organized on the initiative of G. Brutian in the Institute of Arts on March 9, 2010 and dedicated to the 90th anniversary of the world-renowned French painter of Armenian origin Jansem, as well as the booklet “Jansem-90”, published the same year by the International Academy of Philosophy, the Armenian Academy of Philosophy and the Institute of Arts NAS RA and edited by the academician G. Brutian are spoken about.

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41

Storck, Michael Hector. "Arts and Artifacts." International Philosophical Quarterly 53, no. 2 (2013): 107–15. http://dx.doi.org/10.5840/ipq201353215.

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42

Heusaff, Sarah. "Disability Arts − Arts handicapés." Multitudes 94, no. 1 (2024): 135–36. http://dx.doi.org/10.3917/mult.094.0135.

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La présente contribution répond à l’invitation à un exercice complexe de définition des Disability arts littéralement traduits par Arts handicapés. En faisant la consultation de quelques fonds d’archives handicapées, il est possible de souligner une distinction entre les « pratiques artistiques handicapées » et les « mouvements artistiques handicapés ».

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43

Adler, Jonathan, Nelson Goodman, and Catherine Z. Elgin. "Reconceptions in Philosophy and Other Arts and Sciences." Journal of Philosophy 87, no. 12 (1990): 711. http://dx.doi.org/10.2307/2026979.

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44

Iseminger, Gary, and Andrew Harrison. "Philosophy and the Visual Arts: Seeing and Abstracting." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 191. http://dx.doi.org/10.2307/431840.

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45

박연숙. "‘Doing Philosophy’ as a Basis for Arts Education." Korean Journal of Arts Studies ll, no. 20 (2018): 183–204. http://dx.doi.org/10.20976/kjas.2018..20.009.

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46

O’Brien, Dan. "Philosophy and the visual arts: Illustration and performance." Human Affairs 31, no. 4 (2021): 496–507. http://dx.doi.org/10.1515/humaff-2021-0044.

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Abstract In this paper I distinguish between illustrative and performative uses of artworks in the teaching and communication of philosophy, drawing examples from the history of art and my own practice. The former are where works are used merely to illustrate and communicate a philosophical idea or argument, the latter are where the artist or teacher philosophizes through the creation of art. I hope to promote future collaboration between philosophers, art historians and artists, with artworks becoming catalysts for artistic-philosophical investigation, thus revitalizing the idea of universiti

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47

Kulka, Tomas, Nelson Goodman, and Catherine Z. Elgin. "Reconceptions in Philosophy and Other Arts and Sciences." Poetics Today 10, no. 4 (1989): 854. http://dx.doi.org/10.2307/1772817.

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48

Dempster, Douglas, Nelson Goodman, and Catherine Z. Elgin. "Reconceptions in Philosophy and Other Arts and Sciences." Journal of Aesthetic Education 23, no. 4 (1989): 110. http://dx.doi.org/10.2307/3333039.

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49

Matyja, Jakub Ryszard. "Philosophy of the Performing Arts. A book review." AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard V, no. 3 (2014): 164–66. http://dx.doi.org/10.26913/50302014.0112.0011.

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50

Siegel, Harvey, Nelson Goodman, and Catherine Z. Elgin. "Reconceptions in Philosophy and Other Arts and Sciences." Philosophy and Phenomenological Research 51, no. 3 (1991): 710. http://dx.doi.org/10.2307/2107897.

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