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Whiteley, Charles Henry (1911–98) Reference library
The Continuum Encyclopedia of British Philosophy
...committed teacher and contributor to conference discussions. His obituarist in The Times wrote of him that he ‘represented many of the best, though often the least regarded, values of [philosophy] in British universities: clarity, logical acuity, candour, patience, unfailing courtesy and absolute intellectual honesty’ (Anon., p. 23). Bibliography ‘ The Causal Theory of Perception ’, Proceedings of the Aristotelian Society , vol.40 (1939–40), pp.89–102. ‘ The Relation between Mind and Body ’, Proceedings of the Aristotelian Society , vol.45 (1944–5),...
Lewis, Clive Staples (1898–1963) Reference library
The Continuum Encyclopedia of British Philosophy
...) Lewis argues that this good God allows evil in the world because the world is a ‘vale of soul-making’. Pain, danger, resistance and trial are a necessary part of a world in which souls can meet and perfect themselves by engaging in acts of heroism, self-sacrifice, kindness, courtesy, compassion, mercy, fortitude, patience, gratitude and forgiveness. In his The Four Loves ( 1960 ) Lewis distinguished the different types of love, such as affection, friendship, eros and charity, by drawing upon a famous contrast between Need-love, which is motivated by an...
Feuer, Louis Samuel (1912–2002) Reference library
The Dictionary of Modern American Philosophers
...“ What is Philosophy of History? ” Journal of Philosophy 49 (1952): 329–40. “ Political Myths and Metaphysics, ” Philosophy and Phenomenological Research 15 (1955): 332–50. “Letter from Lewis S. Feuer to Horace Kallen, 23 March, 1959,” in the Horace Kallen Papers, quoted courtesy of the Jacob Rader Marcus Center of the American Jewish Archives , Hebrew Union College, Jewish Institute of Religion, Cincinnati, Ohio. “The Genetic Fallacy Re-examined,” in Sidney Hook: Philosopher of Democracy and Humanism , ed. Paul W. Kurtz (Buffalo, N.Y., 1983). Further...
Henderson, George Patrick (1925–2004) Reference library
The Continuum Encyclopedia of British Philosophy
...during his tenure – a time when editors single-handedly assessed all article-length submissions – it became firmly established on the philosophical map as one of the internationally recognized journals in philosophy. He brought to his dealings with authors the same self-effacing courtesy and old-fashioned gentlemanliness which characterized his dealings with everyone, whether a porter, a student or a colleague. His philosophical interests up till 1959 lay in the areas of philosophical logic and ontology , with excursions into philosophical method. Thereafter...
Fox, George (1624–91) Reference library
The Continuum Encyclopedia of British Philosophy
...common courtesies and forms of politeness. From the first moment that he came to know ‘pureness and righteousness’, Fox associated the fidelity of Christian witness with very distinctive linguistic and social habits: ‘The Lord taught me to be faithful in all things, and to act faithfully two ways, viz. inwardly to God and outwardly to man, and to keep to “yea” and “nay” in all things’ ( Journal , ed. Nickalls, pp. 1–2). To Fox, Ecclesiastes 5:2 and Matthew 5:37 (which he is recalling) intimated the repudiation of all merely formal courtesies and mannered...
Pope, Alexander (1688–1744) Reference library
The Continuum Encyclopedia of British Philosophy
...as much as anything else. Pope's moral theory is essentially secular, despite the many genuflections in the direction of a deity in his poems, particularly in An Essay on Man . The work has often been termed a theodicy, but a deity is invoked more for the sake of historical courtesy than from any theological imperative. He had written to Jonathan Swift in 1725 that he was planning a book that would make ‘mankind look upon this life with comfort and pleasure, and put morality in good humour’. He reflected on this ambition in his Epistle to Dr....
Participatory Art Reference library
Tom Finkelpearl
Encyclopedia of Aesthetics (2 ed.)
...techniques, audience), Tania Bruguera. Photo by Sheila Burnett. courtesy of tate modern Of course participation in the collective creation of art is not new. Across the globe, throughout recorded history people have participated in the creation of art—from traditional music and dance to community festivals to mural arts. And the emergence of participatory art as a distinctive field has antecedents at least through the modernist period, as many scholars have argued. For example, recent books on the topic have traced these origins through the European and...
Food Reference library
Jèssica Jaques
Encyclopedia of Aesthetics (2 ed.)
...and the use of food as an artistic medium, while research and revolutionary cooking have to do with aesthetic practices that are close to the arts but keep some degree of autonomy. 247-Vegetable Soup in Textures (plate number 247), 1994 , El Bulli. Photo by Frances Guillamet. courtesy of the artist Despite having been identified only recently, food art has existed since the beginning of civilization. The term identifies those artistic practices whose principal material and symbolic referent is food, including its processes of production and consumption....
Collectivism Reference library
Maria-Alina Asavei
Encyclopedia of Aesthetics (2 ed.)
...hegemony (of either the communist USSR or the Western liberal democracy) wants artists to be critical of. Inspired by Life , h.arta; part of the exhibition Everyday Fragments , curated by Tobi Maier, Ludlow 38 Gallery, New York, 2011 . Photo by Mikolaj Szoska. courtesy of alina asavei Other artist collectives are prompted by different motivations (noncritical motivations) to bond in their own communities. The impetus for some artist collectives is a need for artists to help each other. By engaging with social media they interact with other...
Sustainability Reference library
Adrian Parr
Encyclopedia of Aesthetics (2 ed.)
...for Ailing Plants (detail), 2010 (site-specific installation, 5 x 5 x 3m; transparent mesh, mirror, oil, acrylic, scientific glass vessels, plants living and dried, tulle, blown glass, silicon tubing, minerals, crystals, seeds, water), Janet Laurence. photo by jamie north / courtesy of janet laurence However, the principles of cradle-to-cradle and biomimicry do not adequately, if at all, address the liveliness of naturals systems, namely how they give rise to resilient and adaptable communities, or even the collaborative possibilities they invoke. The...
Systems Theory Reference library
Eve Meltzer
Encyclopedia of Aesthetics (2 ed.)
...to many fields, especially economics, political science, psychology, logic, and biology. Condensation Cube , 1963–1965 (clear acrylic, distilled water, climate in area of display; 12 x 12 x 12 in.), Hans Haacke. © hans haacke and artists’ rights society, new york (ars). courtesy of hans haacke and paula cooper gallery, new york. photo: hans haacke Art historian Pamela M. Lee has argued that systems theory, while initially traceable to the “hard sciences,” intended to “humanize the sciences” by making those discourses applicable to a vast number of...
Animal Aesthetics Reference library
Jessica Ullrich
Encyclopedia of Aesthetics (2 ed.)
...and sounds are the most likely ingredients of animal arts. Gestures and dance would be worthwhile to consider as well but are not discussed in this article only out of consideration of space. Juthanam (nicknamed Phratida), a member of the Lampang Elephant Art Academy, 1998 . courtesy of former vitaly komar and alexander melamid art studio archive Animals and Architecture. Outside the scientific and scholarly world, animals as builders may be the best-known examples for analogies to human cultural behavior. While many of those buildings seem to serve purely...
Trauma Reference library
Margaret Iversen
Encyclopedia of Aesthetics (2 ed.)
...which presumably stirs in readers’ minds their own latent childhood desires and dreads. Untitled , 1995 (wood, cement, steel, cloth, and leather), Doris Salcedo. Museum of Modern Art, New York. digital image © museum of modern art / licensed by scala / art resource, new york / courtesy of alexander and bonin, new york Surrealism. The Surrealist poet André Breton developed his key concepts of the “chance encounter” and “objective chance” in dialogue with psychoanalytic theory. These concepts are sometimes understood in relation to Freud’s earlier, pre-1920...
Children’s Art Reference library
Cynthia C. Rostankowski
Encyclopedia of Aesthetics (2 ed.)
...question remains if these productions can be reasonably called art. What conditions must hold for a painting by a child to be called art? In only a few instances do researchers in the field treat this question. The two discussed here specifically address the issue. Child’s art. courtesy of the author Many arts educators identify Rhoda Kellogg ( 1969 ) as the authority on art by children. Over the course of her professional life as a nursery school educator, she amassed a collection of more than five hundred thousand children’s drawings, made by toddlers to...
Conceptualism Reference library
Luke Skrebowski, Luis Camnitzer, and Octavian Esanu
Encyclopedia of Aesthetics (2 ed.)
...). The tautology is in the design, functioning already without the title. But, as with Kosuth and Allais, the title of the piece serves as a didactic description of the work by narrowly identifying what exactly one should see from what one is seeing. No + Miedo , 1983 , CADA. courtesy of cada These nonactivist speculations about form, content, and self-reference also took place in Latin America. In 1957 the Mexican artist Mathias Goeritz created his Doblado en Cuatro (Folded in Four), a folded piece of paper, and the Peruvian poet and artist Jorge Eduardo...
Artist Reference library
Catherine M. Soussloff and Joan Jeffri
Encyclopedia of Aesthetics (2 ed.)
...liberated from the rest of society and its rules due to the ability of the artist to marshal the power of representation, resulted finally in the concept of the artist that is found in eighteenth-century aesthetics. Untitled , 1975/2004 (chromogenic print), Cindy Sherman. courtesy of the artist and metro pictures, new york / brooklyn museum of art, new york, usa / gift of linda s. ferber / the bridgeman art library Concerning the special subjectivity of the artist, Bernard Williams ( 1973 ) has observed that the body is a precondition of individual...
Appropriation Reference library
Crispin Sartwell and Gloria C. Phares
Encyclopedia of Aesthetics (2 ed.)
...imagery. That seemed to me rather flat, because it’s limiting if you are only involved with creating an image. ( Cameron, 1988 , p. 77) Untitled (After Joan Miró) , 1985 (watercolor and pencil on paper), Sherrie Levine, bequest of Bill Olander and Chris Cox. © sherrie levine. courtesy of paula cooper gallery, new york Sturtevant understood her own practice to be an extension of pop and perhaps also a critique of pop, because she apparently did not regard her own work as creating images in the same way that the pop artists did. Sturtevant’s work might also be...
Environmental Aesthetics Reference library
Arnold Berleant and Emily S. Brady
Encyclopedia of Aesthetics (2 ed.)
..., Mel Chin. The Operation Paydirt collection and display center for the Fundred Dollar Bill Project, New Orleans (existing house, stainless steel, steel, wood, plywood, lead-encapsulation paint, automotive finishes, 12,000 brass thumbtacks, 6,000 unique “Fundred Dollar Bills”). courtesy of the artist Reflecting a distinction made by Hepburn between “trivial” and “serious” appreciation, Yuriko Saito ( 1998 ) holds that the appropriate grounding for appreciating nature “on its own terms” will be information provided through scientific knowledge, giving her...
Sin Reference library
Marius Nel and Friedrich Wilhelm Horn
The Oxford Encyclopedia of the Bible and Ethics
...morally, “to be deceived or fall short of the goal” (cf. Judg 20:16 ; Prov 8:36 ; 19:2 ). Missing the “goal” relates to persons (which might include God or fellow humans), and in this sense sin is an ethical failing toward someone by neglecting to perform a duty or common courtesy, a violation of the bond uniting persons to one another. Based on this term, sin may refer to failing God or other humans, falling short of the mark God sets for human beings. Sin against God is so serious that punishment and compensation must be exacted. The nominative of ...
Japanese Aesthetics Reference library
Yuriko Saito, Ryōsuke Ōhashi, and Graham Parkes
Encyclopedia of Aesthetics (2 ed.)
...Each participant takes turns improvising a short verse that builds on the verse made by the previous person by maintaining some continuity of imagery while introducing a new element. Sparrow and Bamboo , 1847–1852 (woodblock print), Andō Hiroshige. photography by erik gould, courtesy of the museum of art, rhode island school of design, providence Yūgen , according to Zeami, is the highest and most ineffable beauty achievable in a Nō play, which is illustrated by, among other things, a lonely snowless peak among many snow-clad mountain tops, and a silver bowl...
