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  1. Svetlana Leontief Alpers (1960). Ekphrasis and Aesthetic Attitudes in Vasari's Lives. Journal of the Warburg and Courtauld Institutes 23 (3/4):190-215.
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  2. Marshall Cohen (1959). Appearance and the Aesthetic Attitude. Journal of Philosophy 56 (23):915-926.
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  3. Earle Coleman (1979). On Saxena's Defense of the Aesthetic Attitude. Philosophy East and West 29 (1):95-97.
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  4. Stephen Davies (2005). Beardsley and the Autonomy of the Work of Art. Journal of Aesthetics and Art Criticism 63 (2):179–183.
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  5. George Dickie (1984). Stolnitz's Attitude: Taste and Perception. Journal of Aesthetics and Art Criticism 43 (2):195-203.
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  6. George Dickie (1973). Taste and Attitude: The Origin of the Aesthetic. Theoria 39 (1-3):153-170.
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  7. George Dickie (1966). Attitude and Object: Aldrich on the Aesthetic. Journal of Aesthetics and Art Criticism 25 (1):89-91.
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  8. C. E. Emmer (2013). 9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch. In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Publishing.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
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  9. Randolph M. Feezell (1985). Thinking About the Aesthetic Attitude. Philosophical Topics 13 (3):19-32.
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  10. Randolph M. Feezell (1980). The Aesthetic Attitude Debate: Some Remarks on Saxena, Coleman, and a Phenomenological Approach to the Issue. Philosophy East and West 30 (1):87-90.
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  11. David E. W. Fenner (1996). The Aesthetic Attitude. Humanities Press.
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  12. Harold E. Fiske (1993). Music Cognition and Aesthetic Attitudes. E. Mellen Press.
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  13. Jason Gaiger (2009). Dismantling the Frame: Site-Specific Art and Aesthetic Autonomy. British Journal of Aesthetics 49 (1):43-58.
    This paper examines the assumptions underpinning one of the constitutive elements of the modern concept of art: the idea of aesthetic autonomy. I argue that the orientation of recent art practice towards what has come to be termed ‘site-specificity’ is best understood as a progressive relinquishment of the principle of aesthetic autonomy. I develop this position through a close analysis of the work of Miwon Kwon. The paper is intended as a case-study that investigates the problematic relation between historical and (...)
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  14. Oswald Hanfling (2003). Paradoxes of Aesthetic Distance. British Journal of Aesthetics 43 (2):175-186.
    A feature that contributes to the charm of much poetry is its obscurity and indirectness. We want to grasp what the poet is saying and yet, it appears, to do so only with difficulty. How is this preference to be explained? (1) It contributes to promoting an ‘aesthetic attitude’. (2) It conforms to certain general features of human psychology, including (a) a general preference for indirectness and indeterminacy and (b) the pleasure of working things out. Distance, in the relevant sense, (...)
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  15. James Harold (2008). Can Expressivists Tell the Difference Between Beauty and Moral Goodness? American Philosophical Quarterly 45 (3):289-300.
    One important but infrequently discussed difficulty with expressivism is the attitude type individuation problem.1 Expressivist theories purport to provide a unified account of normative states. Judgments of moral goodness, beauty, humor, prudence, and the like, are all explicated in the same way: as expressions of attitudes, what Allan Gibbard calls “states of norm-acceptance”. However, expressivism also needs to explain the difference between these different sorts of attitude. It is possible to judge that a thing is both aesthetically good and morally (...)
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  16. Francis S. Haserot (1952). Beauty and Interestingness. Journal of Philosophy 49 (8):261-273.
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  17. Gary Kemp (1999). The Aesthetic Attitude. British Journal of Aesthetics 39 (4):392-399.
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  18. Alexandra King, The Aesthetic Attitude. Internet Encyclopedia of Philosophy.
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  19. Herbert Sidney Langfeld (1920/1967). The Aesthetic Attitude. Port Washington, N.Y.,Kennikat Press.
    We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
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  20. Danielle Lories (2006). Remarks on Aesthetic Intentionality: Husserl or Kant. International Journal of Philosophical Studies 14 (1):31 – 49.
    It is sometimes claimed that Husserl's writings provide an inspiration for considering art today. More specifically we ask here whether Husserl's description of aesthetic attitude is rich and original. The comparisons he draws between the aesthetic attitude and the phenomenological attitude always aim to clarify the phenomenological attitude and thus take it for granted that the typical features of the aesthetic attitude are well known. In this way Husserl presupposes and retrieves the teaching of Kant, although in certain working notes (...)
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  21. C. A. Mace (1972). The Aesthetic Attitude. British Journal of Aesthetics 12 (3):217-227.
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  22. Patrick Maynard (forthcoming). Photography and Technology. In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2d, rev. ed. Oxford UP.
    Extensive revision of 1998 entry (for expanded new edition of Encyclopedia of Aesthetics) to include, besides mini-essays on technology, art, depiction and the aesthetic, a development of the last in terms of facture--the materials of a work and their working there, as perceivable in the work.
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  23. Richard McCarty (1986). "The Aesthetic Attitude" in India and the West. Philosophy East and West 36 (2):121-130.
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  24. Alfred Neumeyer (1952). Aesthetic Attitudes and the Present Status of Art History and Appreciation. Journal of Aesthetics and Art Criticism 11 (1):61-66.
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  25. Christopher New (1979). Scruton on the Aesthetic Attitude. British Journal of Aesthetics 19 (4):320-330.
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  26. Stanley Paluch (1967). Are There Aesthetic Attitudes? Philosophy and Phenomenological Research 27 (4):606-609.
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  27. M. W. Rowe (2009). Literature, Knowledge, and the Aesthetic Attitude. Ratio 22 (4):375-397.
    An attitude which hopes to derive aesthetic pleasure from an object is often thought to be in tension with an attitude which hopes to derive knowledge from it. The current article argues that this alleged conflict only makes sense when the aesthetic attitude and knowledge are construed unnaturally narrowly, and that when both are correctly understood there is no tension between them. To do this, the article first proposes a broad and satisfying account of the aesthetic attitude, and then considers (...)
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  28. Sushil Kumar Saxena (1980). The Aesthetic Attitude Debate: Reply to Some New Criticisms. Philosophy East and West 30 (2):265-271.
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  29. Sushil Kumar Saxena (1978). The Aesthetic Attitude. Philosophy East and West 28 (1):81-90.
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  30. Milton H. Snoeyenbos (1979). Saxena on the Aesthetic Attitude. Philosophy East and West 29 (1):99-101.
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  31. Jerome Stolnitz (1984). "The Aesthetic Attitude" in the Rise of Modern Aesthetics: Again. Journal of Aesthetics and Art Criticism 43 (2):205-208.
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  32. Jerome Stolnitz (1978). "The Aesthetic Attitude" in the Rise of Modern Aesthetics. Journal of Aesthetics and Art Criticism 36 (4):409-422.
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  33. Jerome Stolnitz (1963). A Third Note on Eighteenth-Century "Disinterestedness". Journal of Aesthetics and Art Criticism 22 (1):69-70.
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  34. Jerome Stolnitz (1961). On the Origins of "Aesthetic Disinterestedness". Journal of Aesthetics and Art Criticism 20 (2):131-143.
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