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  1. Lars Aagaard-Mogensen (1982). On Cognitive Aesthetics. Philosophica 30 (2):5-16.
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  2. Jerold J. Abrams (forthcoming). Aesthetics of Self-Fashioning. Philosophy Today.
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  3. Hazard Adams (1954). The Blakean Aesthetic. Journal of Aesthetics and Art Criticism 13 (2):233-248.
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  4. Evental Aesthetics (2014). Evental Aesthetics (Vol. 3 No. 1,2014). Evental Aesthetics 3 (1):1-64.
    Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.
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  5. Evental Aesthetics (2013). Aesthetic Histories. Evental Aesthetics 2 (3):1-86.
    In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.
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  6. Henry David Aiken (1953). Aesthetic Models and the Enjoyment of Art. Journal of Aesthetics and Art Criticism 11 (3):262-264.
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  7. Henry David Aiken (1951). The Aesthetic Relevance of Belief. Journal of Aesthetics and Art Criticism 9 (4):301-315.
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  8. Virgil C. Aldrich (1977). McGregor on Dickie's Institutionalized Aesthetic. Journal of Aesthetics and Art Criticism 36 (2):213-215.
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  9. Barry Allen (2009). A Theory of Craft: Function and Aesthetic Expression. Common Knowledge 15 (3):517-517.
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  10. G. Allen (1880). I.--Aesthetic Evolution in Man. Mind 5 (20):445-464.
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  11. Charles Altiei (2013). Aesthetics of Affects. Journal of Philosophy: A Cross-Disciplinary Inquiry 8 (19):48-53.
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  12. Pedro Alzuru (2005). La Ilusión Erótica. Cdcht.
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  13. Tiziana Andina (2009). Confini Sfumati: I Problemi Dell'arte, le Soluzioni Della Percezione. Mimesis.
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  14. Tiziana Andina (2005). Percezione E Rappresentazione: Alcune Ipotesi Tra Gombrich E Arnheim. Centro Internazionale Studi di Estetica.
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  15. Kwame Anthony Appiah (1984). Beauty by Design: The Aesthetics of African Adornment. African-American Institute.
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  16. Qayṣar Aprīday (2007). Jamāliyāt, Yaw Naẓaryātī Jāj. Da Mundalo [Darak], Yūnīwarsiṭī Buk Ejansī.
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  17. Paul Ardenne (2006). Extrême: Esthétiques de la Limites Dépassée. Flammarion.
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  18. Donald Arnstine (1970). Aesthetic Qualities in Experience and Learning. In Ralph Alexander Smith (ed.), Aesthetic Concepts and Education. Urbana,University of Illinois Press. 21--44.
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  19. P. Sven Arvidson (1993). Stability and Achievement in Richard Lind's Aesthetic Theory. Journal of Aesthetics and Art Criticism 51 (4):619-622.
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  20. Adil Äsädov (2005). Gözälliyin Fälsäfäsi: Mahiyyät Vä Onun Cismani Täcässümü Spiritualist Aristokratizm Işığında. Nurlan.
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  21. Karl Aschenbrenner (1979). Aesthetic and Other Forms of Value. British Journal of Aesthetics 19 (4):291-301.
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  22. Robert Audi (2014). Normativity and Generality in Ethics and Aesthetics. Journal of Ethics 18 (4):373-390.
    Moral properties such as being wrong or being obligatory are not brute but based on other kinds of properties, such as being a lie or being promised. Aesthetic properties such as being graceful or being beautiful are similar to moral properties in being based on other kinds of properties, but in the aesthetic cases it may be impossible to specify just what these grounding properties are. Does any single property ground poetic beauty in the way promising grounds obligation to do (...)
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  23. J. H. B. (1961). A Whiteheadian Aesthetic. [REVIEW] Review of Metaphysics 15 (2):346-346.
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  24. Jay E. Bachrach (1989). Guy Sircello, Love and Beauty Reviewed By. Philosophy in Review 9 (4):169-173.
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  25. O. Bakos (2002). An Introduction to Contemporary Aesthetics. Filozofia 57 (5):342-348.
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  26. William Forde Thompson & Balkwill & Laura-Lee (2010). Cross-Cultural Similarities and Differences. In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oup Oxford.
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  27. Andrea Balzola (2011). L'arte Fuori di Sé: Un Manifesto Per l'Età Post-Tecnologica. G. Feltrinelli.
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  28. Viorica Barbu Iuraşcu (2009). Music as the Object of Metaphorical Perception. Linguistic and Philosophical Investigations 8:159-164.
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  29. Renato Barilli (1993). Course on Aesthetics. Univ of Minnesota Press.
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  30. Timothy Barker (2012). Toward a Process Philosophy for Digital Aesthetics. Process Studies 41 (1):188-189.
    Digital media seem to be marked by process. The digital image itself is produced by software processes and the constant flux of code. Further this, interaction with digital systems involves a constant process by which a so-called 'user' comes into contact with various machinic occasions. It seems that in light of these processes it is impossible to maintain an aesthetic or media theory that pictures a self-contained and psychologised subject interacting with a static and inert object. How then can we (...)
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  31. Matilde Carrasco Barranco (2013). De la estética de la forma a la estética del significado. Sobre el giro estético de A. Danto. Revista de Filosofía (Madrid) 38 (1):79-97.
    The Abuse of Beauty can be seen as the beginning of a “turn” in the philosophy of art of Arthur Danto, based on the conceptual divorce between art and aesthetics, through which he has vindicated a significant role for the aesthetic in the art of today. However, Danto is still reluctant to make aesthetics part of the definition of art. The paper analyzes some of his most relevant new concepts and examines their implications for that central thesis of his theory (...)
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  32. Margaret Barrett (forthcoming). Toward a" Situated" View of the Aesthetic in Music Education. Journal of Aesthetic Education.
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  33. Lorenzo Bartalesi (2008). Teorie dell'oggetto estetico nel pensiero francese contemporaneo. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 1 (2).
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  34. Ralph Bathurst (2009). Enlivening Management Practice Through Aesthetic Engagement. Philosophy of Management 7 (2):61-76.
    Organisational aesthetics is a burgeoning field with a growing community of scholars engaged in arts-based and aesthetic approaches to research. Recent developments in this field can be traced back to the works of early Enlightenment writers such as Vico, Baumgarten and Kant. This paper examines the contributions of these three philosophers. In particular it focuses on Vico’s treatment of history and myth; Baumgarten’s notion of sensation and its relationship to rationality; and Kant’s investigations into form and content. An exploration of (...)
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  35. Barbara Baumgarten (1995). Aesthetic Criteria. Tradition and Discovery 22 (2):38-38.
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  36. Beck Depression Inventory Bdi & Circles Test (2004). BASIC ID, 291 Beauty, Explosion of Choice in, 89. Human Nature 17:714-715.
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  37. Andrew Beards (2010). Aesthetics. Modern Schoolman 87 (2):143-178.
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  38. Monroe C. Beardsley (1979). In Defense of Aesthetic Value. Proceedings and Addresses of the American Philosophical Association 52 (6):723 - 749.
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  39. Monroe C. Beardsley (1973). What is an Aesthetic Quality? Theoria 39 (1-3):50-70.
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  40. Bill Beckley, David Shapiro & N. School of Visual Arts York (1998). Uncontrollable Beauty Toward a New Aesthetics. Monograph Collection (Matt - Pseudo).
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  41. Errol Bedford & Andrew Paul Ushenko (1956). Dynamics of Art. Philosophical Quarterly 6 (22):93.
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  42. Jacob A. Belzen (2013). Music and Religion: Psychological Perspectives and Their Limits. Archive for the Psychology of Religion 35 (1):1-29.
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  43. Marc Benamou (2010). Rasa: Affect and Intuition in Javanese Musical Aesthetics. Oup Usa.
    Rasa is the most thorough treatment to date of this all-important concept at the heart of Javanese aesthetics. Rasa encompasses not only mood and intuition, but also theories of musical perception and cognition, as well as meaning and expression in music.
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  44. Piers Benn (2013). The Face of God. By Roger Scruton. . Pp. X + 186. Price £18.99.). [REVIEW] Philosophical Quarterly 63 (253):819-821.
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  45. A. Bennett (2000). Theorizing Music and the Social: New Approaches to Understanding Musical Meaning in Everyday Life. Theory, Culture and Society 17 (3):181-184.
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  46. Jiri Benovsky (2013). Philosophical Theories, Aesthetic Value, and Theory Choice. Journal of Value Inquiry 47 (3):191-205.
    The practice of attributing aesthetic properties to scientific and philosophical theories is commonplace. Perhaps one of the most famous examples of such an aesthetic judgement about a theory is Quine's in 'On what there is': "Wyman's overpopulated universe is in many ways unlovely. It offends the aesthetic sense of us who have a taste for desert landscapes". Many other philosophers and scientists, before and after Quine, have attributed aesthetic properties to particular theories they are defending or rejecting. One often hears (...)
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  47. Nathan Berall (1951). A Note on Professor Pepper's Aesthetic Object. Journal of Philosophy 48 (24):750-754.
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  48. C. Berkowitz (2002). On Beauty and Being Just. By Elaine Scarry. The European Legacy 7 (2):233-233.
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  49. Arnold Berleant (2003). The Idea of a Cultural Aesthetic. Dialogue and Universalism 13 (11-12):113-122.
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  50. José Luis Bermúdez (2009). Music, Isomorphism and Metaphor: Comments on Peacocke's 'The Perception of Music: Sources of Significance'. Modern Schoolman 86 (3-4):261-265.
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