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Victor Haines
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  •  Publications
    14
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    13

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Westmount, Quebec, Canada
Areas of Interest
Aesthetics
Normative Ethics
  • All publications (14)
  • Aesthetic order
    Journal of Value Inquiry 28 (2): 193. 1994.
    Value Theory
  • The "lief" of belief
    Journal of Value Inquiry 27 (3/4): 367. 1993.
    Value Theory
  •  2
    Discussion: Without Guilt, What's The Matter? How Tragedy Matters: Response To Richard Eldridge's “How Can Tragedy Matter for Us?”
    Journal of Aesthetics and Art Criticism 53 (2): 187-188. 1995.
    AestheticsPhilosophy of Literature
  •  3
    Robert Burch and Massimo Verdicchio, eds., Between Philosophy and Poetry: Writing, Rhythm, History Reviewed by
    Philosophy in Review 24 (3): 170-172. 2004.
    Poetry
  •  185
    Refining not defining art historically
    Journal of Aesthetics and Art Criticism 48 (3): 237-238. 1990.
    Aesthetics
  •  32
    Appreciating art appreciation
    Journal of Value Inquiry 34 (4): 529-543. 2000.
    Value TheoryAestheticsTopics in Aesthetics
  •  7
    Rhetoric and Existence
    Philosophy and Rhetoric 29 (2). 1996.
    Informal Logic
  •  5
    Thelief of belief
    Journal of Value Inquiry 27 (3-4): 367-383. 1993.
    Value TheoryValue Theory, Miscellaneous
  •  20
    Aesthetic order
    Journal of Value Inquiry 28 (2): 193-215. 1994.
    Value TheoryAesthetic Cognition
  • Robert Burch and Massimo Verdicchio, eds., Between Philosophy and Poetry: Writing, Rhythm, History (review)
    Philosophy in Review 24 170-172. 2004.
    Poetry
  •  20
    Without guilt, what's the matter? How tragedy matters: Response to Richard Eldridge's "how can tragedy matter for us?"
    Journal of Aesthetics and Art Criticism 53 (2): 187-188. 1995.
    Aesthetics
  •  24
    Morgan and the Missing Day in Sir Gawain and the Green Knight
    Mediaeval Studies 33 (1): 354-359. 1971.
    Political Theory
  •  25
    Recursive chaos in defining art recursively
    British Journal of Aesthetics 44 (1): 73-83. 2004.
    Art history cannot be sealed off in cultural isolation: given our innate forms of life, language, and human nature, cultural diversity is only skin deep. The identification of art by historical recursion could not be restricted to the fixed art history of one hermetically sealed cultural tradition because there is no such thing. Attempts to define artworks recursively thus lead to the absurdity that everything in the present might be art because of unknown art antecedents in earlier human cultur…Read more
    Art history cannot be sealed off in cultural isolation: given our innate forms of life, language, and human nature, cultural diversity is only skin deep. The identification of art by historical recursion could not be restricted to the fixed art history of one hermetically sealed cultural tradition because there is no such thing. Attempts to define artworks recursively thus lead to the absurdity that everything in the present might be art because of unknown art antecedents in earlier human cultures that we in a contemporary culture would not call art. Making the lack of a theory the theoretical point of a practice leads to chaos
    Aesthetics
  •  14
    No ethics, no text
    Journal of Aesthetics and Art Criticism 47 (1): 35-42. 1989.
    Aesthetics
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