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  1. E. J. A. (1966). Art and Human Intelligence. [REVIEW] Review of Metaphysics 19 (3):602-602.
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  2. Lars Aagaard-Mogensen (1982). On Cognitive Aesthetics. Philosophica 30 (2):5-16.
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  3. Catharine Abell (2015). II—Genre, Interpretation and Evaluation. Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  4. Jerold J. Abrams (forthcoming). Aesthetics of Self-Fashioning. Philosophy Today.
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  5. Ionel Achim (1972). Dictionar de Estetica Generala. Editura Politica.
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  6. Gheorghe Achitei & Academia de Stiinte Sociale si Politice A. Republicii Socialiste România (1983). Estetica. Editura Academiei Republicii Socialiste România.
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  7. Hazard Adams (1954). The Blakean Aesthetic. Journal of Aesthetics and Art Criticism 13 (2):233-248.
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  8. Mortimer Jerome Adler (1995). Art, the Arts, and the Great Ideas. Monograph Collection (Matt - Pseudo).
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  9. 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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  10. 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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  11. Harold Aesthetics & Osborne (1976). Estética. Fondo de Cultura Económica.
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  12. 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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  13. Henry David Aiken (1951). The Aesthetic Relevance of Belief. Journal of Aesthetics and Art Criticism 9 (4):301-315.
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  14. Mesogeiako Synedrio Aisthetikes (2002). He Aisthetike Sten Arche Tes Trites Chilietias = Aesthetics on the Threshold of the Third Millenieum = L'esthétique au Seuil du Troisième Millénaire. Hidryma Panagiote Kai Ephes Michele.
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  15. Virgil C. Aldrich (1977). McGregor on Dickie's Institutionalized Aesthetic. Journal of Aesthetics and Art Criticism 36 (2):213-215.
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  16. Aphrodite Alexandrakis (1986). A Comparison of Plato, Plotinus and Hegel on Aesthetics and the Concept of Beauty. Dissertation, University of Miami
    This is a study of Hegel's theory of beauty, his theory of aesthetics, the origin of these theories in certain Platonic and Plotinian principles and concepts, and the application of these to Greek art and the Classical Ideal. ;An attempt is made to discover the notion of beauty in Hegel's theory of fine art on the basis of the analysis of the Classical Ideal, specifically, his theory of Greek sculpture. ;Hegel considers the unification of the classical concepts of the True, (...)
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  17. Melvin Leonard Alexenberg (1969). A Unitary Model of Intense Aesthetic Experiences in Art and Science.
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  18. Barry Allen (2009). A Theory of Craft: Function and Aesthetic Expression. Common Knowledge 15 (3):517-517.
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  19. G. Allen (1880). I.--Aesthetic Evolution in Man. Mind 5 (20):445-464.
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  20. Charles Altiei (2013). Aesthetics of Affects. Journal of Philosophy: A Cross-Disciplinary Inquiry 8 (19):48-53.
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  21. Pedro Alzuru (2005). La Ilusión Erótica. Cdcht.
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  22. Daniel Erwin Anderson (1961). An Objectificational Theory of Aesthetic Value. Dissertation, Tulane University
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  23. Tiziana Andina (2009). Confini Sfumati: I Problemi Dell'arte, le Soluzioni Della Percezione. Mimesis.
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  24. Tiziana Andina (2005). Percezione E Rappresentazione: Alcune Ipotesi Tra Gombrich E Arnheim. Centro Internazionale Studi di Estetica.
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  25. Dimitri Z. Andriopoulos (1969). Issues and Problems in Contemporary Greek Aesthetics. Dissertation, State University of New York at Buffalo
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  26. Kwame Anthony Appiah (1984). Beauty by Design: The Aesthetics of African Adornment. African-American Institute.
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  27. Qayṣar Aprīday (2007). Jamāliyāt, Yaw Naẓaryātī Jāj. Da Mundalo [Darak], Yūnīwarsiṭī Buk Ejansī.
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  28. Paul Ardenne (2006). Extrême: Esthétiques de la Limites Dépassée. Flammarion.
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  29. Willard Eugene Arnett (1953). Beauty, Art, and Reason: An Examination of the Artistic and Aesthetic Motivations in the Philosophy of Santayana. Dissertation, Columbia University
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  30. Jimmie Janelle St Arnold (2002). The Healing Power of Beauty: Clinical Applications in Omorphatherapy and Aesthetic Healing. Dissertation, Union Institute and University
    The conscious application of experiential beauty as a course towards health, healing, and well being forms the focus of this research. The study documents the effects of immersion in experiences of beauty as a modality for the recovery of a healthy sense-of-self in women. Conducted in a workshop environment, the results are based on the participant's self-assessment. The application of experiential beauty as a health giving modality remains outside the current conversation on health, wellness, and the western healing model. This (...)
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  31. 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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  32. 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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  33. Adil Äsädov (2005). Gözälliyin Fälsäfäsi: Mahiyyät Vä Onun Cismani Täcässümü Spiritualist Aristokratizm Işığında. Nurlan.
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  34. Karl Aschenbrenner (1979). Aesthetic and Other Forms of Value. British Journal of Aesthetics 19 (4):291-301.
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  35. 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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  36. J. H. B. (1961). A Whiteheadian Aesthetic. [REVIEW] Review of Metaphysics 15 (2):346-346.
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  37. Jay E. Bachrach (1989). Guy Sircello, Love and Beauty Reviewed By. Philosophy in Review 9 (4):169-173.
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  38. Jay Emil Bachrach (1967). The Aesthetic Object and its Qualities: Recent Contributions From Philosophical Analysis. Dissertation, Columbia University
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  39. C. A. Bagley, Vintage Wine in New Bottles : Situating the Extraordinary Autobiographical Work of Charlotte Salomon (1917-1943) and the Sensuous Arts-Based Power of Her Multi-Genre Visual Narrative. [REVIEW]
    The evolving genre of arts-based research constitutes a range of arts-derived tools (music, literature, painting, dance, installation, drama) used by qualitative researchers at different phases of the research process, which may encompass data collection, analysis, and dissemination. Its primary purpose is to provide an audience with evocative access to multiple meanings, interpretations, and voices associated with lived diversity and complexity. Arts-based research is thus a genre that strives for new ways of seeing, knowing, and feeling. In reflecting temporally on the (...)
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  40. Hans-Dieter Bahr (1998). Faszination, Schönheit, Religion.
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  41. G. P. Baker (1921). Faith and its Expression in the Arts. Hibbert Journal 20:680.
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  42. O. Bakos (2002). An Introduction to Contemporary Aesthetics. Filozofia 57 (5):342-348.
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  43. Arthur James Balfour Balfour (1909). Questionings on Criticism and Beauty. Clarendon Press.
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  44. 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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  45. Andrea Balzola (2011). L'arte Fuori di Sé: Un Manifesto Per l'Età Post-Tecnologica. G. Feltrinelli.
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  46. Viorica Barbu Iuraşcu (2009). Music as the Object of Metaphorical Perception. Linguistic and Philosophical Investigations 8:159-164.
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  47. Renato Barilli (1993). Course on Aesthetics. Univ of Minnesota Press.
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  48. 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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  49. Simion Barnutiu & Ion Iliescu (1972). Estetica. Editura Stiintifica.
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  50. Isabel Harriss Barr (1935). Beauty Flows Through the Open Mind: Verse. Pacific Philosophical Quarterly 16 (4):337.
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1 — 50 / 3558