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Journal articles on the topic 'Philosophy of art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Ivan-Haintz, Eva. "Perspective critice asupra heteronomiei artei." Annals of “Dunarea de Jos” University of Galati. Fascicle XVIII: Philosophy 13, no. 1 (2024): 25–36. https://doi.org/10.35219/philosophy.2023.03.

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The heteronomy of art is a philosophical concept that explores the dominance of the socio-cultural norms over artistic creations. Art and society are deeply intertwined, with art reflecting the values, beliefs, and struggles of a society, while simultaneously influencing and shaping it, having a transformative power to challenge the status quo and question prevailing norms and structures. Due to this transformative power, proponents of the heteronomy believe that art should obey extra-aesthetic laws, with the aim of obtaining certain expected effects in society. The debate surrounding the hete

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2

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

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3

Shaw, Beau. "Persecution and the Art of Demonstration." Review of Politics 86, no. 4 (2024): 535–38. https://doi.org/10.1017/s0034670524000287.

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Rasoul Namazi's Leo Strauss and Islamic Political Thought contains patient and perceptive readings of four texts Strauss devoted to Islamic political philosophy. My comments are limited to just one of those readings, that of “Fârâbî's Plato,” and to a single issue within it—the question of the identity of the philosopher or of philosophy. Namazi rightly recognizes the centrality of this question in “Fârâbî's Plato.” As Strauss writes in explaining Alfarabi's view of Plato's philosophy, “the central question concerns . . . the precise meaning of the philosopher” (361), and Namazi claims that it

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4

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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5

Dahlstrom, Daniel O. "Philosophy and Art." Journal of Aesthetics and Art Criticism 53, no. 1 (1995): 101. http://dx.doi.org/10.2307/431750.

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6

Somerville, James. "Philosophy of Art." International Philosophical Quarterly 41, no. 3 (2001): 375–77. http://dx.doi.org/10.5840/ipq200141326.

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7

Goehr, Lydia. "Philosophy Without Art." New Nietzsche Studies 8, no. 1 (2009): 34–57. http://dx.doi.org/10.5840/newnietzsche2009/201081/24.

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8

D'Amico, R. "Philosophy for Art." Telos 1987, no. 74 (1987): 177–83. http://dx.doi.org/10.3817/1287074177.

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9

Negrin, Llewellyn. "Art and philosophy." Philosophy & Social Criticism 31, no. 7 (2005): 801–22. http://dx.doi.org/10.1177/0191453705057304.

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10

Seel, Gerhard. "Rethinking Art and Philosophy of Art." Journal of Philosophical Research 37, no. 9999 (2012): 77–84. http://dx.doi.org/10.5840/jpr201237supplement27.

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11

COCEI, Liviu Iulian. "Spre o înţelegere a categoriilor estetice de Frumos şi Sublim/Towards an Understanding of the Aesthetic Categories of the Beautiful and the Sublime." Annals of “Dunarea de Jos” University of Galati. Fascicle XVIII: Philosophy 10, no. 1 (2021): 97–112. https://doi.org/10.35219/philosophy.2020.08.

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The main goal of this paper is to emphasize the philosophical importance of the Beautiful and the Sublime, in the light of the meaning of life. In addition, some of their opposite categories such as ugliness, kitsch or grotesque will be analyzed as well. The aesthetic judgements (or the judgements of taste) about nature, art or even some products of technology are considered fundamentally subjective, but the appropriate philosophical concept is intersubjectivity. After all, there must be some kind of agreement among the aesthetic subjects or at least some of them. Also, other aesthetic attitud

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12

Rezgui, Marwa. "La double dialectique du concept de l’aliénation: spiritualiste et transcendance." Annals of “Dunarea de Jos” University of Galati. Fascicle XVIII: Philosophy 13, no. 1 (2024): 51–61. https://doi.org/10.35219/philosophy.2023.05.

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The German philosopher Theodor W. Adorno quotes in his book The Aesthetic Theory: "As much as art was marked by universal alienation and grew by it, what alienated it the least is that everything in it passed through spirit and is humanized without violence. It oscillates between ideology and what Hegel attributes to the natural domain of the mind: the truth of self-certainty. First of all, everything about art has become problematic. Adorno also questions the concept of alienation in this society. In theological reflection, the concept of alienation designates the separation of man from God.

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13

Л, Батнасан. "БАЙГАЛЬ БОЛОН УРЛАГИЙН ТАЛААРХ Ф.ШЕЛЛИНГИЙН ФИЛОСОФИЙН ҮЗЭЛ". Philosophy and Religious Studies 12, № 12(354) (2011): 89–92. https://doi.org/10.22353/prs20111.20.

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Fredric Wilhelm Joseph Shelling German idealist philosopher is specific over German romanticism ideology organizing system of transcendental philosophy, and cared more than others on art philosophy. In history of social thought. Generally in his opinion: Natural philosophy, Mythology, Art philosophy. He studied moral about nature in the beginning of study, so published ''System of transcendental idealism'' which tells combination of subjective idealism of Fichte his own objective idealism. Pondering over object and subject, natural and non natural led him into second natural opinion, so he rea

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14

Bulkina, Polina, and Hanna Novik. "PHILOSOPHY OF THE ART OF LAND ART." Theory and practice of design, no. 26 (2022): 268–74. http://dx.doi.org/10.32782/2415-8151.2022.26.32.

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15

Havas, Randall E., and Julian Young. "Nietzsche's Philosophy of Art." Philosophical Review 103, no. 2 (1994): 377. http://dx.doi.org/10.2307/2185753.

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16

Lucy, Niall. "Art, Criticism & Philosophy." International Journal of the Arts in Society: Annual Review 4, no. 6 (2010): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v04i06/35762.

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17

Maertz, Gregory, and Julian Young. "Nietzsche's Philosophy of Art." German Studies Review 18, no. 1 (1995): 154. http://dx.doi.org/10.2307/1431538.

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18

Elveton, Roy, and Julian Young. "Heidegger's Philosophy of Art." German Studies Review 26, no. 2 (2003): 423. http://dx.doi.org/10.2307/1433369.

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19

Taylor, Charles Senn, and Julian Young. "Nietzsche's Philosophy of Art." Journal of Aesthetics and Art Criticism 51, no. 1 (1993): 81. http://dx.doi.org/10.2307/431979.

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20

Czarnocka, Małgorzata. "Art as a Philosophy." Dialogue and Universalism 28, no. 1 (2018): 5–7. http://dx.doi.org/10.5840/du20182811.

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21

Higgins, Kathleen Marie, and Julian Young. "Nietzsche's Philosophy of Art." Philosophical Quarterly 43, no. 173 (1993): 543. http://dx.doi.org/10.2307/2220002.

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22

Rée, Jonathan. "Philosophy as an Art." Philosophers' Magazine, no. 41 (2008): 29–37. http://dx.doi.org/10.5840/tpm20084173.

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23

Roche, Mark W., Friedrich Wilhelm Joseph Schelling, and Douglas W. Stott. "The Philosophy of Art." German Quarterly 64, no. 3 (1991): 385. http://dx.doi.org/10.2307/406404.

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24

Benda, Gisela, and Julian Young. "Nietzsche's Philosophy of Art." German Quarterly 67, no. 2 (1994): 269. http://dx.doi.org/10.2307/408423.

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25

del Caro, Adrian. "Nietzsche’s Philosophy of Art." International Studies in Philosophy 27, no. 2 (1995): 146–47. http://dx.doi.org/10.5840/intstudphil1995272128.

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26

Duncan, Elmer H., Friedrich Wilhelm Joseph Schelling, and Douglas W. Stott. "The Philosophy of Art." Leonardo 25, no. 2 (1992): 225. http://dx.doi.org/10.2307/1575731.

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27

Best, David. "Mind, Art, and Philosophy." Journal of Aesthetic Education 20, no. 3 (1986): 5. http://dx.doi.org/10.2307/3332429.

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28

Levinson, Jerrold. "Philosophy as an Art." Journal of Aesthetic Education 24, no. 2 (1990): 5. http://dx.doi.org/10.2307/3332779.

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29

Owens, Wayne D. "HEIDEGGER'S PHILOSOPHY OF ART." British Journal of Aesthetics 29, no. 2 (1989): 128–39. http://dx.doi.org/10.1093/bjaesthetics/29.2.128.

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30

Davey, N. "Heidegger's Philosophy of Art." British Journal of Aesthetics 44, no. 2 (2004): 202–4. http://dx.doi.org/10.1093/bjaesthetics/44.2.202.

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31

Brandl, Mark Staff. "Art, Philosophy and Comics." Art Book 8, no. 2 (2001): 26–28. http://dx.doi.org/10.1111/1467-8357.00241.

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32

Melville, Stephen. "‘Art and Objecthood’, Philosophy." Journal of Visual Culture 16, no. 1 (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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33

Ginsberg, Robert. "The Philosophy of Art." Idealistic Studies 22, no. 3 (1992): 250–51. http://dx.doi.org/10.5840/idstudies199222345.

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34

KAMBER, RICHARD. "Experimental Philosophy of Art." Journal of Aesthetics and Art Criticism 69, no. 2 (2011): 197–208. http://dx.doi.org/10.1111/j.1540-6245.2011.01461.x.

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35

Eaton, A. W. "Feminist Philosophy of Art." Philosophy Compass 3, no. 5 (2008): 873–93. http://dx.doi.org/10.1111/j.1747-9991.2008.00154.x.

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36

Livingston, P. "The Philosophy of Art." British Journal of Aesthetics 46, no. 4 (2006): 431–33. http://dx.doi.org/10.1093/aesthj/ayl026.

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37

Hanson, L. "Philosophy and Conceptual Art." British Journal of Aesthetics 48, no. 2 (2008): 229–31. http://dx.doi.org/10.1093/aesthj/ayn007.

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38

Cashell, Kieran. "Heidegger’s Philosophy of Art." Journal of Critical Realism 13, no. 1 (2014): 84–97. http://dx.doi.org/10.1179/1476743013z.00000000016.

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39

Anderson, Tom, and Edmund Burke Feldman. "Philosophy of Art Education." Journal of Aesthetic Education 32, no. 3 (1998): 116. http://dx.doi.org/10.2307/3333314.

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40

Coker, John C., and Julian Young. "Nietzsche's Philosophy of Art." Journal of Aesthetic Education 28, no. 4 (1994): 107. http://dx.doi.org/10.2307/3333372.

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41

Feagin, Susan L. "Philosophy and Art Education." Journal of Aesthetic Education 29, no. 2 (1995): 7. http://dx.doi.org/10.2307/3333449.

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42

Hawthorn, Elwyn W. "Art and Visual Philosophy." Journal of Aesthetic Education 29, no. 1 (1995): 95. http://dx.doi.org/10.2307/3333521.

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43

Sartwell, Crispin. "The Philosophy of Art." Teaching Philosophy 18, no. 4 (1995): 387–88. http://dx.doi.org/10.5840/teachphil199518463.

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44

Worth, Sarah E. "Philosophy of Mass Art." Teaching Philosophy 23, no. 1 (2000): 91–93. http://dx.doi.org/10.5840/teachphil200023110.

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45

LEVINSON, J. "Art, Value, and Philosophy." Mind 105, no. 420 (1996): 667–82. http://dx.doi.org/10.1093/mind/105.420.667.

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46

Carman, T. "Heidegger's Philosophy of Art." Philosophical Review 112, no. 4 (2003): 575–80. http://dx.doi.org/10.1215/00318108-112-4-575.

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47

Phillips, John W. P. "Art, Politics and Philosophy." Theory, Culture & Society 27, no. 4 (2010): 146–60. http://dx.doi.org/10.1177/0263276409349284.

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48

Sharma, Yam Prasad. "Philosophy in Art Research." Journal of Fine Arts Campus 4, no. 1 (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. W

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49

O'Brien, Dan. "Cubism: Art and Philosophy." ESPES. The Slovak Journal of Aesthetics 7, no. 1 (2018): 30–37. https://doi.org/10.5281/zenodo.6377843.

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In this paper I argue that the development of cubism by Picasso and Braque at the beginning of the twentieth century can be illuminated by consideration of long-running philosophical debates concerning perceptual realism, in particular byLocke’s (1689) distinction between primary and secondary properties, and Kant’s (1781) empirical realism. Daniel-Henry Kahnweiler (1920), Picasso’s dealer and early authority on cubism, interpreted Picasso and Braque as Kantian in their approach. I reject his influential interpretation, but propose a more plausible, Kantian rea

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50

Osborne, Harold. "Philosophy, Art ... and Life." Dialectics and Humanism 14, no. 2 (1987): 5–14. https://doi.org/10.5840/dialecticshumanism198714256.

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