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Rejecting Goodman's distinction between autographic and allographic arts, and the dualistic ontology based upon it, the author attempts to construct a unified theory of the exemplification of art works. The book will be of interest to philosophers, aestheticians, and historians of art.
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Rejecting Goodman's distinction between autographic and allographic arts, and the dualistic ontology based upon it, the author attempts to construct a unified theory of the exemplification of art works. The book will be of interest to philosophers, aestheticians, and historians of art.
Reviews