Aesthetics: Other Topics



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A Bibliography of Literary Theory, Criticism and Philology



http://www.unizar.es/departamentos/filologia_inglesa/garciala/bibliography.html

by José Ángel García Landa

(University of Zaragoza, Spain)


Aesthetics: Other Topics


Aesthetic attitude

Aesthetic education

Aesthetic experience

Aesthetics and politics

Aesthetics of action

Art for Art's Sake

Art studies

Artistic process

Comparative aesthetics

Creativity. See Creation/imagination. Creativity.

Death of art, Decay of art

Definition of Art

Evolution of Art

Function and Use of Art

Fusion of the Arts

Future of art

History of artistic forms. See Art history.

Iconography

Imitation, influence

Mediation

Periodization

Point of View

Popular art

Relativism

Self-representation

Semiotics and aesthetics. See Semiotics of Art

Sociology of Art

Spatial arts

Subject/Object

Teaching art


Aesthetic Attitude
Beardsley, Monroe C. "Aesthetic Intentions and Fictive Illocutions." In What Is Literature? Ed. Paul Hernadi. Bloomington: Indiana UP, 1978. 161-77.

Behler, Ernst. "On Truth and Lie in an Aesthetic Sense." In Revenge of the Aesthetic: The Place of Literature in Theory Today. Ed. Michael P. Clark. Berkeley (CA): U of California P, 2000. 76-92.*

Bell, Michael. "The Metaphysics of Modernism: Aesthetic Myth and the Myth of the Aesthetic." In The Arts and Sciences of Criticism. Ed. David Fuller and Patricia Waugh. Oxford: Oxford UP, 1999. 238-56.*

Bernstein, Jay M. "Aesthetic Alienation: Heidegger, Adorno, and the Truth at the End of Art." In Life After Postmodernism: Essays on Value and Culture. Ed. John Fekete. New York: St. Martin's Press, 1987.

Bullough, Edward. "'Psychical Distance' as a Factor in Art and an Aesthetic Principle." British Journal of Psychology 6.2 (1910). Rpt. in Adams 755-765.

Carrier, David. "The Aesthete in the City." Arts Magazine 64.8 (April 1990).

Conrad, W. "Der ästhetische Gegenstand." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 3 (1908), 4 (1909).

Bennett, Tony. "Really Useless 'Knowledge': A Political Critique of Aesthetics." In Bennett, Outside Literature. London: Routledge, 1990. 143-66.*

_____. "Severing the Aesthetic Connection." In Bennett, Outside Literature. London: Routledge, 1990. 117-42.*

Ehrenzweig, A. Psicoanálisis de la percepción estética. Barcelona: Gili, 1976.

Fokkema, D. W. "A Semiotic Definition of Aesthetic Experience and the Period Code of Modernism." Poetics Today 3.1 (1982): 61-79.

Gadamer, Hans-Georg. "5. Conclusiones estéticas y hermenéuticas." In Gadamer, Verdad y método: Fundamentos de una hermenéutica filosófica. Trans. Ana Agud Aparicio and Rafael de Agapito. (Trans. of 4th ed.). Salamanca: Sígueme, 1977.* (La violencia óntica de la imagen. El fundamento ontológico de lo ocasional y lo decorativo. La posición límite de la literatura. La reconstrucción y la integración como tareas hermenéuticas).

Genette, Gérard. L'Œuvre de l'art, I: Immanence et Transcendance. (Poétique). Paris: Seuil, 1996.

_____. La obra del arte: Inmanencia y trascendencia. Trans. Carlos Manzano. (Palabra Crítica 23). Barcelona: Lumen, 1997.*

_____. L'Œuvre de l'art, II: La relation esthétique. (Poétique). Paris: Seuil, 1997.* (1. L'attention esthétique. 2. L'appréciation esthétique. 3. La fonction artistique).

Richards, I. A. "The Phantom Aesthetic State." In Richards, Principles of Literary Criticism. 1924. London: Routledge, 1967. 6-11.*

Ricœur, Paul. "La experiencia estética." Interview with François Azouvi and Marc de Launay. In Con Paul Ricœur: Indagaciones hermenéuticas. By Paul Ricœur, Wood, Clark, et al. Ed. Mario J. Valdés. 1998. Barcelona: Azul Editorial, 2000. 155-74.*

Schlaffer, Heinz. Poesie und Wissen: Die Entstehung des ästhetischen Bewußtseins und der philologischen Erkenntnis. Frankfurt am Main: Suhrkamp, 1990.

Tatarkiewicz, Wladislaw. Dzieje szesciu pojec. Warsaw: Panstwowe Wydawnictwo Naukowe, 1975.

_____. Historia de seis ideas: Arte, belleza, forma, creatividad, mímesis, experiencia estética. Trans. Francisco Rodríguez Marín. Madrid: Tecnos, 1987.* Trans. of Dzieje szesciu pojec.


Video

Leiter, Brian. "Nietzsche on the Terrible Truth and Aesthetic Justification of Life." Lecture at Davidson College. YouTube (Brad Younger) 10 May 2014.*



http://youtu.be/qUF5OfKVPwo

2014
See also Aesthetic experience; Fictionality.



Aesthetic education
Camnitzer, Luis. "La enseñanza del arte como fraude." Esfera pública 25 Nov. 2013.*

http://esferapublica.org/nfblog/?p=23857

2013


Kooy, Michael John. Coleridge, Schiller and Aesthetic Education. Houndmills: Palgrave Macmillan, 2002.

Schiller, Johann Cristoph Friedrich von. Über die ästhetische Erziehung des Menschen. 1795. In Schiller, Gedichte und Prosa: Über den Grund des Vergnügens. Über die tragische Kunst. Vom Erhabenen. Über das pathetische. Über Anmut und Würde. Über die ästhetische Erziehung des Menschen. Über naive und sentimentalische Dichtung. Ed. Emil Staiger. Zürich: Manesse Verlag, 1984.*

_____. On the Aesthetic Education of Man. Bilingual ed. Ed. and trans. E. M. Wilkinson and L. A. Willoughby. Oxford: Oxford UP, 1983.

_____. From On the Aesthetic Education of Man (Letters 2, 6, 9). In The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. New York: Norton, 2001.*

Senet, Rodolfo. Educación de los sentimientos estéticos: Origen y evolución. Madrid: Francisco Beltrán, 1925.


Aesthetic experience
Beardsley, Monroe C. "Aesthetic Qualities." In Beardsley, Aesthetics: Problems in the Philosophy of Criticism. 2nd ed. Indianapolis: Hackett, 1981. Xxviii-xxxii.*

_____. "Aesthetic Objects." (1. The Artist's Intention. 2. The Perceptual and the Physical. 3. Phenomenal Objectivity. 4. The Object and Its Presentations. 5. The Range of Critical Statements). In Beardsley, Aesthetics: Problems in the Philosophy of Criticism. 2nd ed. Indianapolis: Hackett, 1981. 15-74.*

_____. "Artistic Truth." (20. The Proposition Theory. 21. Revelation and Intuition). In Beardsley, Aesthetics: Problems in the Philosophy of Criticism. 2nd ed. Indianapolis: Hackett, 1981. 367-99.*

Benjamin, Walter. "Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit." 1935. In Benjamin, Schriften 1.2. Frankfurt: Suhrkamp, 1972.

_____. "The Work of Art in the Age of Mechanical Reproduction." In Benjamin, Illuminations. New York: Schocken Books, 1969. 217-52.*

_____. "The Work of Art in the Age of Mechanical Reproduction." In Film Theory and Criticism: Introductory Readings. Ed. Gerald Mast, Marshall Cohen and Leo Brady. 4th ed. Oxford, 1992.

_____. "The Work of Art in the Age of Mechanical Reproduction." Select. in Modernism/Postmodernism. Ed. Peter Brooker. London: Longman, 1992. 45-49.*

_____. "The Work of Art in the Age of Mechanical Reproduction." 1935. In Film Theory and Criticism: Introductory Readings. 5th ed. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 731-51.*

_____. "The Work of Art in the Age of Mechanical Reproduction." In Theory of the Novel: A Historical Approach. Ed. Michael McKeon. Baltimore: Johns Hopkins UP, 2000. 673-95.*

_____. From "The Work of Art in the Age of Mechanical Reproduction." In Reading Images. Ed. Julia Thomas. Houndmills: Macmillan, 2000.

_____. "The Work of Art in the Age of Mechanical Reproduction." In The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. New York: Norton, 2001.*

_____. "The Work of Art in the Age of Mechanical Reproduction." In Literary Theory: An Anthology. Ed. Julie Rivkin and Michael Ryan. 2nd ed. Oxford: Blackwell, 2004.

Bullough, Edward. "'Psychical Distance' as a Factor in Art and an Aesthetic Principle." British Journal of Psychology 6.2 (1910). Rpt. in Adams 755-765.

de Beaugrande, Robert. "Quantum Aspects of Artistic Perception." Poetics 17.45 (October 1988).

Dutton, Denis. The Art Instinct: Beauty, Pleasure, and Human Evolution. Bloomsbury, 2009; Oxford: Oxford UP, 2009.

Freedberg, D., and Vittorio Gallese. "Motion, Emotion and Empathy in Esthetic Experience." Trends in Cognitive Sciences 11.5 (May 2007): 107-23. (Mirror neurons and their relations to aesthetic experience).

Gadamer, Hans-Georg. "3. Recuperación de la pregunta por la verdad del arte." In Gadamer, Verdad y método: Fundamentos de una hermenéutica filosófica. Trans. Ana Agud Aparicio and Rafael de Agapito. (Trans. of 4th ed.). Salamanca: Sígueme, 1977.* (Los aspectos cuestionables de la formación estética. Crítica de la abstracción de la conciencia estética).

_____. Wahrheit und Methode: Grundzüge einer philosophischen Hermeneutik. Tübingen: Mohr, 1960.

_____. Wahrheit und Methode. 4th ed. Tübingen: Mohr, 1975.

_____. Wahrheit und Methode. 5th ed. In Gadamer, Gesammelte Werke. Tübingen: Mohr, 1986.

_____. Truth and Method. New York: Continuum, 1975.

_____. Truth and Method. Trans. Garrett Barden and John Cumming. New York: Seabury Press - Crossroad, 1975. 1988. Trans. of Wahrheit und Methode. 2nd. ed. (1965).

_____. Truth and Method. Trans. William Glen-Doepel. London: Sheeed and Ward, 1979.

_____. Vérité et méthode. Paris: Seuil, 1976.*

_____. Verdad y método: Fundamentos de una hermenéutica filosófica. Trans. Ana Agud Aparicio and Rafael de Agapito. (Trans. of 4th ed.). Salamanca: Sígueme, 1977.*

Genette, Gérard. L'Œuvre de l'art, II: La relation esthétique. (Poétique). Paris: Seuil, 1997.* (1. L'attention esthétique. 2. L'appréciation esthétique. 3. La fonction artistique).

Heidegger, Martin. "Der Ursprung des Kunstwerkes." 1935, 1956.

_____. "Der Ursprung des Kunstwerkes." In Heidegger, Holzwege. Frankfurt, 1972.

_____. "Der Ursprung des Kunstwerkes." In Heidegger, Holzwege. Frankfurrt a/M: Klostermann, 1959.

_____. Der Ursprung des Kunstwerks. 1935, 1956. Introd. H. G. Gadamer. Stuttgart: Reclam, 1965.

_____. "The Origin of the Work of Art." Trans. Albert Hofstadter. In Heidegger, Poetry, Language, Thought. New York: Harper, 1971. 17-87.

_____. "The Origin of the Work of Art." In Deconstruction in Context. Ed. Mark C. Taylor. Chicago: U of Chicago P, 1986. 256-79.*

_____. "L'origine de l'œuvre d'art." 1935, 1956. In Heidegger, Chemins qui ne mènent nulle part 13-98.*

_____. El origen de la obra de arte. Buenos Aires: Losada, 1960.

Jauss, Hans-Robert Kleine Apologie der aesthetischen Erfahrung. Constance: Verlaganstalt, 1972.

_____. "Pequeña apología de la experiencia estética." Saber 6 (1972): 449-63.

_____. Ästhetische Erfahrung und Literarische Hermeneutik 1: Versuche im Feld der ästhetischen Erfahrung. Munich: Fink, 1977.

_____. Aesthetic Experience and Literary Hermeneutics. Trans. Michael Shaw. Introd. Wlad Godzich. Minneapolis: U of Minnesota P, 1982.

_____. Experiencia estética y hermenéutica literaria: Ensayos en el campo de la experiencia estética. Madrid: Taurus, 1986.*

Kreuz, Robert J., and Mary Sue McNealy, eds. Empirical Approaches to Literature and Aesthetics. Norwood (NJ): Ablex, 1996.

Langer, Susanne K. "Artistic Perception and 'Natural Light'." In Langer, Problems of Art: Ten Philosophical Lectures. London: Routledge and Kegan Paul, 1957. 59-74.*

López Sáenz, Mª Carmen. "El arte como modelo de la comprensión y la comprensión del arte contemporáneo." In La filosofía en el futuro de los discursos antropológicos. Ed. G. Arregui. Thémata. Revista de Filosofía 39 (2007): 451-459.

Lotman, Iuri M. "Zum künstlerischen Raum und zum Problem des Sujets." From Der künstlerische Raum in Gogol's Prosa. In Russische Proto-Narratologie: Texte in kommentierten Übersetzungen. Ed. Wolf Schmid. Berlin and New York: Walter de Gruyter, 2009. 261-89.*

Matravers, Derek. Art and Emotion. Oxford: Oxford UP, 1998.

Ortega y Gasset, José. "Apatía artística." From El Espectador, vol. 4. ("Incitaciones"). In El Espectador: Tomo III y IV. (El Arquero). Madrid: Revista de Occidente, 1961. 169-77.* (Aesthetic experience, modern art).

Smets, Gerda. Aesthetic Judgment and Arousal: An Experimental Contribution to Psycho-aesthetics. Leuven (Belgium): Leuven UP, 1973.

Tate, Allen. "The Aesthetic Emotion as Useful." This Quarter 5 (1932).

Valente, José Ángel. "Estática y dinámica de la obra de arte." In Valente, Obras completas, II: Ensayos. Barcelona: Círculo de Lectores / Galaxia Gutenberg, cop. 2008. 792-95.*


Internet resources


Aesthetic Experience, Judgment, Value

SSRN


http://papers.ssrn.com/sol3/JELJOUR_Results.cfm?form_name=journalBrowse&journal_id=985465

2012
See also Aesthetic attitude; Aesthetic categories.



Aesthetics and Politics
Hirschkop, Ken. Mikhail Bakhtin: An Aesthetic for Democracy. Oxford: Oxford UP, 1999.

Aesthetics of action
De Quincey, Thomas. "On Murder Considered as One of the Fine Arts." 1827. In Selected English Essays. Ed. W. Peacock. London: Oxford UP, 1903. 303-54.*

_____. De l’assassinat considéré comme un des beaux arts. Paris: Gallimard, 1963. Rpt. (Idées).

_____. El asesinato considerado como una de las bellas artes. Ediciones de Bolsillo.

Gerrard. Art of Warre. 1591.

Machiavelli, Niccolò. The Art of War. Online at Project Gutenberg.

_____. The Art of War. (Penguin 60s Classics). Harmondsworth: Penguin.

Oman. Art of War in the Middle Ages.

Onfray, Michel. La sculpture de soi: La morale esthétique. Paris: Grasset, 1993. Rpt. (Le Livre de Poche). 1996. (Prix Médicis de l'essai).

Von Vacano, D. A. The Art of Power: Machiavelli, Nietzsche, and the Making of Aesthetic Political Theory. Lanham (MD): Lexington Books, 2007.

Sun Zi. Sunzi Bigfa. (Sunzi's Art of War).

_____. The Art of War. In Project Gutenberg. 1991.

http://www.gutenberg.org/etext/132

2005-02-19

_____. (Sun Tse). Los trece artículos sobre el arte de la guerra. (Cuadernos Anagrama, 77). Barcelona: Anagrama.

_____. (Sunzi). El arte de la guerra. Foreword by Jean Levi. Introd., trans. and notes Albert Galvany. (Pliegos de Oriente, 9). Madrid: Trotta, 2001. 2nd. ed. 2002. 3rd ed. 2003. 4th ed. 2005. 5th ed. 2006. 6th ed. 2007.*

_____. (Art of war, French trans. by Jacques Amiot). 1772.

Art for Art's Sake
Altieri, Charles. "The Values of Articulation: Aesthetics after the Aesthetic Ideology." In Beyond Representation: Philosophy and Poetic Imagination. Cambridge: Cambridge UP, 1996. 66-89.

Gautier, Théophile. Mademoiselle de Maupin. Novel. 1835. (With a preface on art for art's sake).

_____. Mademoiselle de Maupin. Paris: Garnier, 1966.

_____. Mademoiselle de Maupin. (Penguin Classics). Harmondsworth: Penguin.

_____. From the Preface to Mademoiselle de Maupin. In The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. New York: Norton, 2001.*

Iser, Wolfgang. Walter Pater: Die Autonomie des Ästhetischen. 1960.

Jenkins, Iredell. "Art for Art's Sake." Dictionary of the History of Ideas. Ed. Philip P. Wiener. New York: Scribner's, 1973.

Pater, Walter Horatio. "Conclusion." (On art for art's sake). In Pater, The Renaissance. London: Macmillan, 1925. 246-52.*

_____. The Renaissance: Studies in Art and Poetry. London: Macmillan, 1873. 2nd ed. 1877. 3rd ed. London: Macmillan, 1888.

_____. The Renaissance: Studies in Art and Poetry. London: Macmillan, 1910.

_____. The Renaissance: Studies in Art and Poetry. London: Macmillan, 1924. 1925.*

_____. The Renaissance. Ed A. Symons. New York: Modern Library, 1950.

_____. The Renaissance: Studies in Art and Poetry. The 1893 Text. Ed. Donald L. Hill. Berkeley: U of California P, 1980.

_____. The Renaissance: Studies in Art and Poetry. Ed. Adam Phillips. (World's Classics). Oxford: Oxford UP, 1986. Rpt. (Oxford World's Classics). 1998.*

_____. From Studies in the History of the Renaissance (Preface; Conclusion). In The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. New York: Norton, 2001.*

Wilde, Oscar. Preface to The Picture of Dorian Gray. In The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. New York: Norton, 2001.*

See also Aestheticism.

Art studies
Camnitzer, Luis. "La enseñanza del arte como fraude." Esfera pública 25 Nov. 2013.*

http://esferapublica.org/nfblog/?p=23857

2013


Literature
Gray, Alasdair. Lanark. Novel.

Storey, David. The Life Class. Drama. (Art students and model).

_____. Life Class. London: Cape, 1974.


Artistic process
Gohr, S. "The Situation and the Artists." Flash Art 106 (Feb.-March 1982): 30-46.

Partenheimer, Jürgen. "Al genio del lugar: el espacio de trabajo." Revista de Occidente 165 (1995): 103-14.*




Comparative Aesthetics
Croce, Benedetto. "The Theory of the Limits of the Arts." In Croce, Aesthetic. London: Vision Press / Peter Owen, 1967. 449-58.*

Dutton, Denis. The Art Instinct: Beauty, Pleasure, and Human Evolution. Bloomsbury, 2009; Oxford: Oxford UP, 2009.

Langer, Susanne K. "Deceptive Analogies: Specious and Real Relationships Among the Arts." In Langer, Problems of Art: Ten Philosophical Lectures. London: Routledge and Kegan Paul, 1957. 75-89.*

Serés, Guillermo. "'La historia, la poesía y la pintura simbolizan entre sí' (Persiles, III,14). Principios del comparatismo cervantino." In Cervantes en el espejo del tiempo. Ed. Mª Carmen Marín Pina. Zaragoza: Prensas Universitarias de Zaragoza, 2010. 441-64.*

Tauber, Alfred, ed. The Elusive Synthesis: Aesthetics and Science. Dordrecht: Kluwer, 1996.

Series


(Cultural Interactions: Studies in the Relationship between the Arts). Series ed. J. B. Bullen. Oxford, Bern, Berlin, Brussels, Frankfurt a/M, New York, Vienna, 2010.*

Death of art, Decay of art
Vattimo, Gianni. La fine della modernità. Nichilismo ed ermeneutica nella cultura postmoderna. Milan: Garzanti Editore, 1985.

_____. El fin de la modernidad: nihilismo y hermenéutica en la cultura posmoderna. Trans. Alberto L. Bixio. Barcelona: Gedisa, 1986.*

Vives, Juan Luis. De causis corruptarum artium. (a.k.a. De corruptis artibus). 1531.

Definition of Art

Beardsley, Monroe C. "The Definition of Art." In Beardsley, Aesthetics: Problems in the Philosophy of Criticism.. 2nd ed. Indianapolis: Hackett, 1981. Xviii-xxiii.*

_____. "The Ontology of Art." In Beardsley, Aesthetics: Problems in the Philosophy of Criticism. 2nd ed. Indianapolis: Hackett, 1981. Xxiii-xxvii*

_____. "Aesthetic Value." (26. The Beauty Theory. 27. Psychological Definitions. 28. The Instrumentalist Theory). In Beardsley, Aesthetics: Problems in the Philosophy of Criticism. 2nd ed. Indianapolis: Hackett, 1981. 500-56.*

Tolstoy, Lev. What is Art? By Leo Tolstoy; Translated from the Russian original by Aylmer Maude; Embodying the author's last alterations and revisions. London: The Brotherhood Publishing Company, 1898. (Aestheticism; Religious art; Artist; Morality; Nihilism; Class; Religion)

_____. What is Art? And Essays on Art. Trans. Aylmer Maude. London, 1938.



Evolution of art
Boyd, Brian. "Art and Evolution: Spiegelman in The Narrative Corpse." Philosophy and Literature 32 (2008): 31-57.

_____. "2. Evolution, Adaptation, and Adapted Minds." In Boyd, On the Origin of Stories: Evolution, Cognition, and Fiction. Cambridge (MA) and London: Harvard UP-Belknap Press, 2009. 31-42.*

_____. "5. Art as Adaptation?" In Boyd, On the Origin of Stories: Evolution, Cognition, and Fiction. Cambridge (MA) and London: Harvard UP-Belknap Press, 2009. 69-79.*

_____. "8. From Tradition to Innovation." In Boyd, On the Origin of Stories: Evolution, Cognition, and Fiction. Cambridge (MA) and London: Harvard UP-Belknap Press, 2009. 113-26.*

Dissanayake, Ellen. Homo Aestheticus: Where Art Comes from and Why. New York: Free Press, 1992.

_____. Art and Intimacy: How the Arts Began. Seattle: U of Washington P, 2000.

_____. "What Art Is and Does: An Overview of Contemporary Evolutionary Hypotheses." In Evolutionary and Neurocognitive Approaches to Aesthetics, Creativity, and the Arts. Ed. Colin Martindale, Paul Locher, and Vladimir M. Petrov. Amityville (NY): Baywood, 2007. 1-14.

Dutton, Denis. The Art Instinct: Beauty, Pleasure, and Human Evolution. New York: Bloomsbury, 2009.

Focillon, Henri. La Vie des formes. Paris: PUF, 1957.

_____. The Life of Forms in Art. Trans. C. B. Hogan and George Kubler. Rev. ed. New York, 1958.

Gachev, Georgy. Zhizn' khudozhestvennogo soznaniia: Ocherki po istoriii obraza. (The Life of the Artistic Consciousness: Observations on the History of the Image). Moskva: Iskusstvo, 1981.

Hazlitt, William. "Why the Arts Are Not Progressive: A Fragment." 1814.

_____. "¿Por qué las artes no progresan? Un fragmento." In Hazlitt, Ensayos sobre el arte y la literatura. Ed. and trans. Ricardo Miguel. Madrid: Espasa-Calpe, 2004. 27-34.*

_____. "Why the Arts Are Not Progressive?" In In Romantic Critical Essays. Ed. David Bromwich. Cambridge: Cambridge UP, 1987. 84-88.

Martindale, Colin. The Clockwork Muse: The Predictability of Artistic Change. Basic Books, 1990.

Mithen, Steven. The Prehistory of the Mind: The Cognitive Origins of Art, Religion, and Science. London: Thames and Hudson, 1996.

Ortega y Gasset, José. "El arte en presente y en pretérito." In Ortega, La deshumanización del arte y otros ensayos de estética. Madrid: Espasa-Calpe, 1987. 202-13.

Vattimo, Gianni. La fine della modernità. Nichilismo ed ermeneutica nella cultura postmoderna. Milan: Garzanti Editore, 1985.

_____. El fin de la modernidad: nihilismo y hermenéutica en la cultura posmoderna. Trans. Alberto L. Bixio. Barcelona: Gedisa, 1986.*

See also Primitive art.




Function and Use of Art
Beardsley, Monroe C. "Aesthetic Value." (26. The Beauty Theory. 27. Psychological Definitions. 28. The Instrumentalist Theory). In Beardsley, Aesthetics: Problems in the Philosophy of Criticism. 2nd ed. Indianapolis: Hackett, 1981. 500-56.*

_____. "The Arts in the Life of Man." (29. Moral and Critical Judgments. 30. The Inherent Value of Art). In Beardsley, Aesthetics: Problems in the Philosophy of Criticism. 2nd ed. Indianapolis: Hackett, 1981. 557-92.*

Dissanayake, Ellen. What Is Art For? Seattle: U of Washington P, 1988.

_____. Art and Intimacy: How the Arts Began. Seattle: U of Washington P, 2000.

_____. "What Art Is and Does: An Overview of Contemporary Evolutionary Hypotheses." In Evolutionary and Neurocognitive Approaches to Aesthetics, Creativity, and the Arts. Ed. Colin Martindale, Paul Locher, and Vladimir M. Petrov. Amityville (NY): Baywood, 2007. 1-14.

Dutton, Denis. The Art Instinct: Beauty, Pleasure, and Human Evolution. New York, Bloomsbury, 2009.

García Landa, José Ángel. "La austeridad de Auster." In García Landa, Vanity Fea 29 Oct. 2006.

http://garciala.blogia.com/2006/102802-la-austeridad-de-auster.php

2006-11-01

Hegel, G. W. F. Vorlesungen über die Aesthetik. 1835.

_____. Ästhetik. Berlin, 1965.

_____. Vorlesungen über die Aesthetik. 1835. In Hegel, Werke in zwanzig Bänden. Ed. E. Moldenhauer and K. M. Michel. Frankfurt a/M, 1970. Vol. 13.

_____. The Introduction to Hegel’s Philosophy of Fine Art. Trans. Bernard Bosanquet. London, 1886.

_____. The Philosophy of Fine Art. Trans. F. P. B. Osmaston. London: G. Bell and Sons, 1920.

_____. Esthetics. Trans. T. M. Knox. Oxford: Clarendon, 1975.

_____. Aesthetics: Lectures on Fine Art. Trans. T. M. Knox.  New York, 1975.

_____. Esthétique. Trans. S. Jankélévitch. Paris: Aubier, 1954.

_____. Estética. 1835. Buenos Aires: El Ateneo, 1954.

_____. Introducción a la estética. Trans. Ricardo Mazo. Barcelona: Península, 1985.

_____. Introducción a la estética. Ediciones de Bolsillo.

_____. De lo bello y sus formas. Buenos Aires: Espasa-Calpe, 1958.

_____. Filosofía del arte o Estética [verano de 1826]. Apuntes de Friedrich Carl Hermann Victor von Kehler. Ed. Annemarie Gethmann-Siefert and Bernadette Collenberg-Plotnikov. With Francesca Ianelli and Karsten Berr. Trans. Domingo Hernández Sánchez. (Lecturas de Filosofía). Madrid: Abada / UAM, 2006.* (Aesthetics, Beauty, Function of art, Symbols, Classicism, Romanticism, Ideal, Unity, Subjectivity, Art and spirituality, Architecture, Sculpture, Painting, Music, Poetry).

Peckham, Morse. Man's Rage for Chaos. Philadelphia: Chilton Books, 1965.

_____. Rage for Chaos: Biology, Behavior, and the Arts. New York: Schocken, 1967.

Santayana, George. "IX. La justificación del arte." In Santayana, La razón en el arte y otros escritos de estética. Ed. Ricardo Miguel. Epilogue by Fernando Savater. (Verbum Mayor). Madrid: Verbum, 2008. 106-21.*

Tusquets Blanca, Oscar. Más que discutible: Observaciones dispersas sobre el arte como disciplina útil. Barcelona: Tusquets, 1994.

Wilde, Oscar. "The Decay of Lying." The Nineteenth Century (January 1889). (Aestheticism; Decadence; Mimesis; Nature; Realism; Imagination and fancy)

_____. "The Decay of Lying." In Wilde, Intentions. London: James R. Osgood McIlvaine & Co, London, 1891.

_____. "The Decay of Lying: An Observation." In The Works of Oscar Wilde. Ed. G. F. Maine. London and Glasgow: Collins, 1938. 1957. 909-31.*

_____. "The Decay of Lying." In The Works of Oscar Wilde. Ed. B. Foreman. London: Collins, 1948. 970-1016.

_____. "The Decay of Lying." In Complete Works of Oscar Wilde. London: Collins, 1966. 970-92.*

_____. "The Decay of Lying." In Critical Theory since Plato. Ed. Hazard Adams. San Diego: Harcourt, 1971. 673-686.*

_____. "The Decay of Lying." In Wilde, De Profundis and Other Writings. Harmondsworth: Penguin, 1986. 55-88.*

_____. "The Decay of Lying: A Dialogue." 1889. Selection in The Victorian Age: An Anthology of Sources and Documents. Ed. Josephine Guy. London: Routledge, 1998. Pbk. 2002. 390-409.*

_____. "La decadencia de la mentira." In Wilde, Obras Completas. Ed. and trans. Julio Gómez de la Serna. Madrid: Aguilar, 1943. 1986. 967-90.* Rpt.. Santillana-Aguilar, 2003. 1.653-78.*

_____. "La decadencia de la mentira." In Ensayistas ingleses. Ed. Ricardo Baeza. Barcelona: Exito, 1968. 407-44.*

_____. "La decadencia de la mentira." In Ensayos. Artículos. Trans. Julio Gómez de la Serna. (Jorge Luis Borges: Biblioteca Personal, 3). Barcelona: Orbis, 1986. 101-42.*



Fusion of the arts
Styan, J. L. "Shakespeare's Fusion of the Arts." The Upstart Crow 8 (1988): 10-27.

_____. "Shakespeare's Fusion of the Arts." In Shakespeare and the Arts. Ed. Stephen Orgel and Sean Keilen. (Shakespeare: The Critical Complex, 1). New York and London: Garland, 1999. 18-36.*

Tanner, M. "The Total Work of Art." In The Wagner Companion. Ed. P. Burbridge and R. Sutton. London: Faber and Faber, 1979.
See also Literature and Music; Literature and the Visual Arts; Multimedia.

Future of Art
Bonnefoy, Yves. "Cómo ir lejos, entre las piedras." Fin de siglo y futuro de las artes. Revista de Occidente 181 (1996): 9-20.*

García Berrio, Antonio. "Introducción." Fin de siglo y futuro de las artes. Revista de Occidente 181 (1996): 5-8.*

_____. "Milenarismo, fin de siglo y futuro de las artes." Fin de siglo y futuro de las artes. Revista de Occidente 181 (1996): 33-49.*

Villar Dégano, Juan F. "Sobre el arte del futuro." Fin de siglo y futuro de las artes. Revista de Occidente 181 (1996): 50-69.*


Iconography
Dagognet, François. Écriture et iconographie. Paris: Vrin, 1973.

Gordon, D. J. "Hymenaei: Ben Jonson's Masque of Union." In The Renaissance Imagination. Ed. Stephen Orgel. Berkeley and London, 1975. (Masque, emblems, iconography).

Luna, Luis Eduardo, and Pablo Amaringo. Ayahuasca Visions: The Religious Iconography of a Peruvian Shaman. Berkeley (CA): North Atlantic Books, 1991.

Panofsky, Erwin. Hercules am Scheidewege, und andere antike Bildstoffe in der der neueren Kunst. (Studien der Bibliothek Warburg, 5). Leipzig, 1924.

Revilla, Federico. Diccionario de iconografía y simbología. (Arte. Grandes Temas). Madrid: Cátedra. 2nd ed rev. 1995, 3rd ed rev., 2000.*

Szónyi, György E., and Rowland Wymer, eds. The Iconography of Power: Ideas and Images of Rulership on the English Renaissance Stage. Szeged: JATE Press, 2000.


See also Archetypes, Imagology.

Imitation, influence
Langer, Susanne K. "Imitation and Transformation in the Arts." In Langer, Problems of Art: Ten Philosophical Lectures. London: Routledge and Kegan Paul, 1957. 90-108.*
See also Intertextuality

Mediation

Bolter, Jay David, and Richard Grusin. "Immediacy, Hypermediacy, and Remediation." In Bolter and Grusin, Remediation: Understanding New Media. Cambridge (MA): MIT Press, 1999. 2000. 20-51.*

_____."Mediation and Remediation." In Bolter and Grusin, Remediation: Understanding New Media. Cambridge (MA): MIT Press, 1999. 2000. 52-63.*

_____. "Mediated Spaces." In Bolter and Grusin, Remediation: Understanding New Media. Cambridge (MA): MIT Press, 1999. 2000. 168-83.*

Gadamer, Hans-Georg. "4. El juego como hilo conductor de la explicación ontológica." In Gadamer, Verdad y método: Fundamentos de una hermenéutica filosófica. Trans. Ana Agud Aparicio and Rafael de Agapito. (Trans. of 4th ed.). Salamanca: Sígueme, 1977.* (El concepto del juego. La transformación del juego en construcción y la mediación total. La temporalidad de la estética. El ejemplo de lo trágico). (Schiller, etc.).

Sell, Roger D. "Introduction." In Sell, Literature as Communication. Amsterdam: Benjamins, 2000. 1-28.* (Lit. theory; mediation; lit. pragmatics).

_____. "Mediating Criticism." In Sell, Literature as Communication. Amsterdam: Benjamins, 2000. 253-80.* (Mediation; conflicts; future of literature, function of criticism).

_____. Literature as Communication: The Foundations of Mediating Criticism. (Pragmatics & Beyond New Series, 78). Amsterdam and Philadelphia: John Benjamins, 2000.*


See also Media; Semiotics; Mimesis.
Periodization
Abad, Francisco. "Notas léxicas: 'Siglo de oro liberal', 'Edad de Plata', 'Generación del 27'." In Palabras, Norma, Discurso: En memoria de Fernando Lázaro Carreter. Ed. Luis Santos Río et al. Salamanca: Ediciones Universidad de Salamanca, 2005. 39-48.*

Aguiar e Silva, Vítor Manuel de. "La periodización literaria." In Aguiar e Silva, Teoría de la literatura. 1968. Trans. Valentín García Yebra. Madrid: Gredos, 1972. 244-52.

Brake, Laurel, ed. The Ending of Epochs. The English Association.

Calinescu, Matei. "Postmodernism and Some Paradoxes of Periodization." In Approaching Postmodernism. Ed. D. W. Fokkema and Hans Bertens. Amsterdam: Benjamins, 1986. 239-54.

Cysarz, Herbert. "El principio de los periodos en la ciencia literaria." In Emil Ermatinger et al. Filosofía de la ciencia literaria. Trans. Carlos Silva. México: FCE, 1946. 1984. 93-136.

Fernández López, Carlos. "Historia literaria. Movimientos, generaciones y periodos. Morfología y poética comparadas." In Liceus.com: E-Excellence



http://www.liceus.com/cgi-bin/aco/lit_comp/temas.asp

2005-05-05

García Landa, José Angel. "Looking Back on the Present." In García Landa, Vanity Fea 15 Feb. 2012.*

http://vanityfea.blogspot.com/2012/02/looking-back-on-present.html

2012


Guillén, Claudio. "10. Second Thoughts on Literary Periods." In Guillén, Literature as System: Essays toward the Theory of Literary History. Princeton (NJ): Princeton UP, 1971. 420-69.*

_____. "Sobre los períodos literarios: cambios y contradicciones." In Guillén, Teorías de la historia literaria: Ensayos de teoría. Madrid: Espasa-Calpe, 1989. 119-38.

Henríquez Ureña, Pedro. Las corrientes literarias en la América hispánica. México: FCE, 1949.

Hoffman, Gerhard, Alfred Hornung and Rüdiger Kunow. "'Modern', 'Postmodern' and 'Contemporary' as Criteria for Analysis of 20th-Century Literature." Amerikastudien 22 (1977): 19-46.

Kermode, Frank. "Canon and Period." History and Value. Oxford: Clarendon, 1988. 108-27.

Miller, J. Hillis. "The Function of Rhetorical Study at the Present Time." In The State of the Discipline: 1970s-80s. ADE Bulletin 62 (1979). Rpt. with revisions in Teaching Literature: What is Needed Now. Ed. James Engell and David Perkins. Cambridge (MA): Harvard UP, 1988. Rpt. in Miller, Theory Now and Then. 201-16.

Parker, Mark. "Measure and Countermeasure: The Lovejoy-Wellek Debate and Romantic Periodization." In Theoretical Issues in Literary History. Ed. David Perkins. Cambridge (MA): Harvard UP, 1991. 227-47.*

Peacock, Thomas Love. "The Four Ages of Poetry." 1820. Rpt. in Adams 491-497.

_____. "The Four Ages of Poetry." In Bromwich 199-211.

_____. The Four Ages of Poetry. Ed. John E. Jordan. Indianapolis: Bobbs-Merrill, 1965. (Including A Defence of Poetry by Shelley).

Petersen, Julius. "Las generaciones literarias." In Emil Ermatinger et al. Filosofía de la ciencia literaria. Trans. Carlos Silva. México: FCE, 1946. 1984. 137-94.

Valverde, José María. Movimientos literarios. Barcelona: Salvat, 1985.


Point of View
Ortega y Gasset, José. "Sobre el punto de vista en las artes." In Ortega, La deshumanización del arte y otros ensayos de estética. Madrid: Espasa-Calpe, 1987. 175-85.*
See also Perspective.


Popular Art
Bancroft, George. "The Office of the People in Art, Government, and Religion." 1835. In The American Intellectual Tradition: A Sourcebook. Ed. David A. Hollinger and Charles Capper. 4th ed. New York: Oxford UP, 2001. 285-93.*

Carroll, Noël. "Philosophical Resistance to Mass Art: The Majority Tradition." In Carroll, A Philosophy of Mass Art. Oxford: Clarendon, 1998. 15-109.*

_____. "Philosophical Celebrations of Mass Art: The Minority Tradition." In Carroll, A Philosophy of Mass Art. Oxford: Clarendon, 1998. 110-71.* (Benjamin, McLuhan).

_____. "The Nature of Mass Art." In Carroll, A Philosophy of Mass Art. Oxford: Clarendon, 1998. 172-245.* (David Novitz, John Fiske).

_____. "Mass Art and the Emotions." In Carroll, A Philosophy of Mass Art. Oxford: Clarendon, 1998. 245-90.* (Plato, Identification, fiction).

_____. "Mass Art and Morality." In Carroll, A Philosophy of Mass Art. Oxford: Clarendon, 1998. 291-359.* (Identification, simulation).

_____. "Mass Art and Ideology." In Carroll, A Philosophy of Mass Art. Oxford: Clarendon, 1998. 360-412.

_____. A Philosophy of Mass Art. Oxford: Clarendon, 1998.*

Hall, Stuart, and Paddy Whannel. The Popular Arts. London: Hutchinson, 1964.

_____. The Popular Arts. Boston: Beacon, 1967.

Shrum, Wesley Monroe. Fringe and Fortune: The Role of Critics in High and Popular Art. Princeton (NJ): Princeton UP, 1996.


Reflexivity in art

Read, Herbert. "An Art of Internal Necessity." Quadrum 1 (1960).

Rubert de Ventós, Xavier. El arte ensimismado. 1963. Introd. José María Valverde. 2nd ed. Barcelona: Ediciones de Bolsillo, 1979. *


Relativism
Craige, Betty Jean, eds. Relativism in the Arts. Athens: U of Georgia P, 1983.

Self-Representation
Bandtel, Matthias. "Authentizität in der politischen Kommunikation: Mediale Inszenierungsstrategien und authentifizierende Selbstdarstellungspraktiken politischer Akteure." In Authentisches Erzählen: Produktion, Narration, Rezeption. Ed. Antonius Weixler. Berlin and Boston: De Gruyter, 2012. 213-36.*

Bayard, Pierre. "La juste distance avec soi." From Comment améliorer les œuvres ratées? In García Landa, Vanity Fea 2 Aug. 2013.*

http://vanityfea.blogspot.com.es/2013/08/la-juste-distance-avec-soi.html

2013


Benkel, Thorsten. "Authentische Erfindungen: Selbstdarstellungstrategien in Erzählkontexten des sozialen Alltags." In Authentisches Erzählen: Produktion, Narration, Rezeption. Ed. Antonius Weixler. Berlin and Boston: De Gruyter, 2012. 95-118.*

García Landa, José Ángel. "Bajtín, autoobjetivización, blogs." In García Landa, Vanity Fea 16 Jan. 2006.



http://garciala.blogia.com/2006/011602-bajtin-autoobjetivizacion-blogs.php

2006-01-30

_____. "Je est a third person." In García Landa, Vanity Fea 4 August 2007.

http://garciala.blogia.com/2007/080401-je-est-a-third-person.php

2007

_____. "Hablarán de nuestra vida delante de nuestro cuerpo: La escritura como autoapropiación y transcendencia del sujeto en The Stone Diaries." Academia.edu 7 Dec. 2010.*



http://unizar.academia.edu/Jos%C3%A9AngelGarc%C3%ADaLanda/Papers/357138/Hablaran_de_nuestra_vida_delante_de_nuestro_cuerpo_La_escritura_como_autoapropiacion_y_trascendencia_del_sujeto_en_THE_STONE_DIARIES

2010


_____. "They Will Talk About Our Life in Front of Our Body: Writing as the Subject's Self-Appropriation and Transcendence in Carol Shields's The Stone Diaries / Hablarán de nuestra vida delante de nuestro cuerpo: La escritura como autoapropiación y transcendencia del sujeto en The Stone Diaries." Online PDF at Social Science Research Network 7 Ded. 2010.*

http://ssrn.com/abstract=1721575

2010


_____. "Somos de lo más." In García Landa, Vanity Fea 31 July 2012.*

http://vanityfea.blogspot.com.es/2012/07/somos-de-lo-mas.html

2012


Heras Díez, Florentino. "L'homme précaire en son miroir... " In Autor y texto: Fragmentos de una presencia. Ed. Ángeles Sirvent, Josefina Bueno and Silvia Caporale. Barcelona: PPU, 1996. 303-12.*

Jacobs, Ilené. Performing the Self: Autobiography, Narrative, Image and Text in Self-Representations. MA diss. U of Stellenbosch, 2007.*



http://scholar.sun.ac.za/bitstream/handle/10019.1/1552/jacobs_performing_2007.pdf?sequence=3

2014


Randall, William Lowell. The Stories We Are: An Essay on Self-Creation. 1995. 2nd ed. Toronto: U of Toronto P, 2014.

Shaffer, E. S., ed. Comparative Criticism 12: Representations of the Self. Cambridge: Cambridge UP, 1990.

Valente, José Ángel. "Boceto improbable." In Valente, Obras completas, II: Ensayos. Barcelona: Círculo de Lectores / Galaxia Gutenberg, cop. 2008. 1497-98.* (Self-representation).

Walker Rettberg Jill. Seeing Ourselves through Technology: How We use Selfies, Blogs, and Wearable Devices to See and Shape Ourselves. (Palgrave Pivot). Houndmills: Palgrave Macmillan, 2014.

Wheeler, Elizabeth Skerpan. "Eikon Basilike and the Rhetoric of Self-Representation." In The Royal Image: Representations of Charles I. Ed. Thomas N. Corns. Cambridge: Cambridge UP, 1999. 132-7.

Video


Bowman, David. "Every Person Is a Broadcast Channel." PBS Video 24 Feb. 2014.*

http://video.pbs.org/video/2365186650/

2015


Salmon, Christian. "Politique de la littérature." Video lecture. YouTube (CRAL) 3 Feb. 2014.*

http://youtu.be/Ij0yIS1nwKA

2014
See also Autobiography; Diaries; Self-image; Self-portraits; First-person narrative.


Sociology of Art
Bourdieu, Pierre. La Distinction: Critique sociale du jugement. Paris: Minuit, 1979.

_____. Distinction: A Social Critique of the Judgment of Taste. Trans. Richard Nice. Cambridge (MA): Harvard UP, 1984.

_____. Distinction: A Social Critique of the Judgment of Taste. Trans. Richard Nice. London: Routledge, 1984.

_____. From Distinction: A Social Critique of the Judgment of Taste ("Introduction"). In The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. New York: Norton, 2001.*

_____. "Distinction." In Literary Theory: An Anthology. Ed. Julie Rivkin and Michael Ryan. 2nd ed. Oxford: Blackwell, 2004.

_____. Les Règles de l'art: Genèse et structure du champ littéraire. (Libre Examen). Paris: Seuil, 1992.

_____. Les Règles de l'art: Genèse et structure du champ littéraire. (Points; Essais, 370). Paris: Seuil, 1998.*

_____. The Rules of Art: Genesis and Structure of the Literary Field. 1992. Trans. Susan Emanuel. (Meridian: Crossing Aesthetics). Stanford (CA), 1995. 1996.

Kogan, Jacobo. "Sociología del arte." In Kogan, El lenguaje del arte: Psicología y sociología del arte. Buenos Aires: Paidós, 1965. 177-220.
See also: Marxist Criticism.

Space in Art
Jameson, Fredric. "Utopianism after the End of Utopia." (Space in modern art). In Jameson, Postmodernism: or, The Cultural Logic of Late Capitalism. London: New Left Books-Verso, 1992.*

Subject / Object
Beardsley, Monroe C. "Aesthetic Objects." (1. The Artist's Intention. 2. The Perceptual and the Physical. 3. Phenomenal Objectivity. 4. The Object and Its Presentations. 5. The Range of Critical Statements). In Beardsley, Aesthetics: Problems in the Philosophy of Criticism. 2nd ed. Indianapolis: Hackett, 1981. 15-74.*

Bloch, Ernst. Subjekt-Objekt. Frankfurt: Suhrkamp, 1962.

Brahms, Flemming. "Entering Our Own Ignorance: Subject-Object Relations in Commonwealth Literature." In The Post-Colonial Studies Reader. Ed. Bill Ashcroft, Gareth Griffiths, and Helen Tiffin. London: Routledge, 1995. 66-70.*

De Grazia, Margreta, Maureen Quilligan and Peter Stallybrass, eds. Subject and Object in Renaissance Culture. (Cambridge Studies in Renaissance Literature and Culture 8). Cambridge: Cambridge UP, 1996.

Hegel, G. W. F. Vorlesungen über die Aesthetik. 1835.

_____. Ästhetik. Berlin, 1965.

_____. Vorlesungen über die Aesthetik. 1835. In Hegel, Werke in zwanzig Bänden. Ed. E. Moldenhauer and K. M. Michel. Frankfurt a/M, 1970. Vol. 13.

_____. The Introduction to Hegel’s Philosophy of Fine Art. Trans. Bernard Bosanquet. London, 1886.

_____. The Philosophy of Fine Art. Trans. F. P. B. Osmaston. London: G. Bell and Sons, 1920.

_____. Esthetics. Trans. T. M. Knox. Oxford: Clarendon, 1975.

_____. Aesthetics: Lectures on Fine Art. Trans. T. M. Knox.  New York, 1975.

_____. Esthétique. Trans. S. Jankélévitch. Paris: Aubier, 1954.

_____. Estética. 1835. Buenos Aires: El Ateneo, 1954.

_____. Introducción a la estética. Trans. Ricardo Mazo. Barcelona: Península, 1985.

_____. Introducción a la estética. Ediciones de Bolsillo.

_____. De lo bello y sus formas. Buenos Aires: Espasa-Calpe, 1958.

_____. Filosofía del arte o Estética [verano de 1826]. Apuntes de Friedrich Carl Hermann Victor von Kehler. Ed. Annemarie Gethmann-Siefert and Bernadette Collenberg-Plotnikov. With Francesca Ianelli and Karsten Berr. Trans. Domingo Hernández Sánchez. (Lecturas de Filosofía). Madrid: Abada / UAM, 2006.* (Aesthetics, Beauty, Function of art, Symbols, Classicism, Romanticism, Ideal, Unity, Subjectivity, Art and spirituality, Architecture, Sculpture, Painting, Music, Poetry).

Lukács, Georg. "Die Subjekt-Objekt Beziehung in der Ästhetik." Logos (1917-18).

Massey, Irving. The Uncreating Word: Romanticism and the Object. Bloomington: Indiana UP, 1970.

Ortega y Gasset, José. "Filosofía." 1915. ("Conciencia, objeto y las tres distancias de éste. Fragmentos de una lección"). In Ortega, El Espectador. Madrid: Revista de Occidente, 1960. 1.77-88.*


Audio


Clavier, Paul, et al. "Berkeley, un immatérialiste heureux." TrENSmissions 13 Dec. 2013.*

http://www.trensmissions.ens.fr/berkeley-immaterialiste-heureux/

2014


Video

Strawson, Galen. "Galen Strawson on perception." Video lecture. YouTube (Brad Younger) 15 Nov. 2014.* (Realism, perception, mind, representation, experience, subject/object).



http://youtu.be/Ct3C62FmL_k

2015



See also Objects.


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