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94 Commentaries 3. Elisa Steenberg, “On Visual Aesthetic Taste,” Valör 1 (2003): 50-55. 4. Elisa Steenberg, “Verbalizing the Aesthetic Experience,” British Journal of Aesthetics 32 (1992): 342-46. 5. See M. Lipman, “Can Non-aesthetic Consequences Justify Aesthetic Values?” Journal of Aesthetics and Art Criticism 34, no. 2 (1975): 117-23; Karl Aschenbrenner, The Concept of Coherence in Art (Dordrecht: D. Reidel, 1985), 15; and Bruce E. Fleming, Modernism and Its Discontents (New York: Peter Lang, 1995), 143. 6. M. Tuchman and J. Freeman, eds., The Spiritual in Art: Abstract Painting 1890- 1985 (New York: Abbeville Press, 1986). In his innovative work I Wanna Be Me: Rock Music and the Politics of Identity, Ted Gracyk does much to dismantle notions of cultural authenticity and theft as they are currently articulated by some critics. Explaining that such concepts are less monolithic than some have claimed, Gracyk writes: While popular musicians often “pick up” the music of other cultures, such practices are culturally, politically, and morally complex. In dis- cussing such issues, I hope to show that they are even more complex than is typically thought. Here, I borrow an insight from Michelle Moody-Adams, who argues that prevailing positions in social and cultural anthropology
The Journal of Aesthetic Education – University of Illinois Press
Published: Jun 2, 2007
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