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  1. Abhinavagupta (1968). The Aesthetic Experience According to Abhinavagupta. Varanasi, Chowkhamba Sanskrit Series Office.
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  2. Virgil C. Aldrich (1966). Back to Aesthetic Experience. Journal of Aesthetics and Art Criticism 24 (3):365-371.
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  3. Thomas Alexander (2002). The Aesthetics of Reality : The Development of Dewey's Ecological Theory of Experience. In F. Thomas Burke, D. Micah Hester & Robert B. Talisse (eds.), Dewey's Logical Theory: New Studies and Interpretations. Vanderbilt University Press.
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  4. Barry Allen (2008). Artifice and Design: Art and Technology in Human Experience. Cornell University Press.
    The book concludes that it is a mistake to think of Art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental ...
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  5. R. T. Allen (1970). The Aesthetic Experience Again. British Journal of Aesthetics 10 (4):344-349.
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  6. Meter Amevans (1956). What is Form? Journal of Aesthetics and Art Criticism 15 (1):85-93.
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  7. Douglas R. Anderson (1992). Possibility of the Aesthetic Experience. Idealistic Studies 22 (3):219-220.
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  8. R. N. Austgard (2006). The Aesthetic Experience of Nursing. Nursing Philosophy 7 (1):11–19.
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  9. Jay E. Bachrach (1974). On Criteria for Aesthetic Experience. Philosophia 4 (2-3):319-326.
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  10. Archie J. Bahm (1958). Aesthetic Experience and Moral Experience. Journal of Philosophy 55 (20):837-846.
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  11. Peter Baofu (2007). The Future of Aesthetic Experience: Conceiving a Better Way to Understand Beauty, Ugliness, and the Rest. Cambridge Scholars Pub..
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  12. Monroe C. Beardsley (1969). Aesthetic Experience Regained. Journal of Aesthetics and Art Criticism 28 (1):3-11.
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  13. Guy Bennett-Hunter (2013). Natural Theology and Literature. In Russell Re Manning John Hedley Brooke & Fraser Watts (eds.), The Oxford Handbook of Natural Theology. Oxford University Press.
  14. Alessandro Bertinetto (2006). Arte Como Desrealización. Daimon 39:175-185.
  15. Landon E. Beyer (1985). Aesthetic Experience for Teacher Preparation and Social Change. Educational Theory 35 (4):385-397.
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  16. Deanne Bogdan (2003). Musical Spirituality: Reflections on Identity and the Ethics of Embodied Aesthetic Experience in/and the Academy. Journal of Aesthetic Education 37 (2).
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  17. Richard Brown, Kant, Polysolipsism, and the Real Unity of Experience.
    The question I am interested in revolves around Kant’s notion of the unity of experience. My central claim will be that, apart from the unity of experiencings and the unity of individual substances, there is a third unity: the unity of Experience. I will argue that this third unity can be conceived of as a sort of ‘experiential space’ with the Aesthetic and Categories as dimensions. I call this ‘Euclidean Experience’ to emphasize the idea that individual experiencings have a ‘location’ (...)
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  18. Steven Burns & Alice MacLachlan (2004). Getting It: On Jokes and Art. AE: Journal of the Canadian Society of Aesthetics 10.
    “What is appreciation?” is a basic question in the philosophy of art, and the analogy between appreciating a work of art and getting a joke can help us answer it. We first propose a subjective account of aesthetic appreciation (I). Then we consider jokes (II). The difference between getting a joke and not, or what it is to get it right, can often be objectively articulated. Such explanations cannot substitute for the joke itself, and indeed may undermine the very power (...)
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  19. E. F. Carrit (1963). The Aesthetic Experience of Architecture. British Journal of Aesthetics 3 (1):67-69.
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  20. N. Carroll (2001). Enjoyment, Indifference, and Aesthetic Experience: Comments for Robert Stecker. British Journal of Aesthetics 41 (1):81-83.
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  21. Noël Carroll (2012). Recent Approaches to Aesthetic Experience. Journal of Aesthetics and Art Criticism 70 (2):165-177.
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  22. Noël Carroll (2006). Ethics and Aesthetics: Replies to Dickie, Stecker, and Livingston. British Journal of Aesthetics 46 (1):82-95.
    Both my deflationary approach to aesthetic experience and what I call moderate moralism have been challenged recently in the pages of the British Journal of Aesthetics by Paisley Livingston, Robert Stecker, and George Dickie. In this essay, I attempt to deal with their objections while also trying to move the debate to new ground.
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  23. Noël Carroll (2004). Non-Perceptual Aesthetic Properties: Comments for James Shelley. British Journal of Aesthetics 44 (4):413-423.
    James Shelley has raised the important question of whether it is possible to have aesthetic experiences of imperceptible artworks. This issue is important for determining whether or not the aesthetic theory of art can deal with certain cases of conceptual art. Shelley has argued that it is possible to have aesthetic experiences of imperceptibilia. And in this article, I concur with him, though for reasons different from his. Nevertheless, I go on to argue that this still fails to vindicate the (...)
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  24. Noël Carroll (2002). Aesthetic Experience Revisited. British Journal of Aesthetics 42 (2):145-168.
    In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.
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  25. Allan Casebier (1991). Film and Phenomenology: Toward a Realist Theory of Cinematic Representation. Cambridge University Press.
    In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all hitherto existing (...)
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  26. Ron Chrisley, Painting an Experience.
    Paintings are usually paintings of things: a room in a palace, a princess, a dog. But what would it be to paint not those things, but the experience of seeing those things? Las Meninas is sufficiently sophisticated and masterfully executed to help us explore this question. Of course, there are many kinds of paintings: some abstract, some conceptual, some with more traditional subjects. Let us start with a focus on naturalistically depictive paintings: paintings that aim to cause an experience in (...)
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  27. John Clammer (1970). On Defining the Aesthetic Experience. British Journal of Aesthetics 10 (2):147-151.
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  28. Rory J. Conces (1994). Aesthetic Alienation and the Art of Modernity. Southwest Philosophy Review 10 (2):149-64.
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  29. A. L. Cothey (1990). The Nature of Art. Routledge.
    From Plato to Goodman, many philosophers have addressed problems in aesthetics and the philosophy of art. Nevertheless the central issues here have remained ill-defined. In this book, A. L. Cothey overcomes this difficulty by giving a systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day. In The Nature of Art , Cothey concludes that the best-known philosophical theories of art fail to satisfy either the pragmatic or the aesthetic criteria required to (...)
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  30. Benedetto Croce (1952). Dewey's Aesthetics and Theory of Knowledge. Journal of Aesthetics and Art Criticism 11 (1):1-6.
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  31. Benedetto Croce (1948). On the Aesthetics of Dewey. Journal of Aesthetics and Art Criticism 6 (3):203-207.
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  32. Donald A. Crosby (2010). Emergentism, Perspectivism, and Divine Pathos. American Journal of Theology and Philosophy 31 (3):196-206.
    In his book Divine Beauty: The Aesthetics of Charles Hartshorne, Daniel A. Dombrowski performs a welcome service by bringing into clear focus a large number of the extensive writings of Hartshorne and relating them to the topic of aesthetics.1 In so doing, he shows how central Hartshorne’s analysis of aesthetic experience is to various aspects of his thought, including but by no means restricted to his views on the nature of art and the place of the arts in human life. (...)
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  33. D. J. Crossley (1971). The Aesthetic Field: A Phenomenology of Aesthetic Experience. Arnold Berleant. Springfield: Charles C. Thomas. 1970. Pp. Xiii, 199. $8.75. [REVIEW] Dialogue 10 (03):607-610.
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  34. Paul Crowther (1993). Art and Embodiment: From Aesthetics to Self-Consciousness. Oxford University Press.
    In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing the (...)
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  35. Paul Crowther (1983). The Experience of Art: Some Problems and Possibilities of Hermeneutical Analysis. Philosophy and Phenomenological Research 43 (3):347-362.
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  36. Mihaly Csikszentmihalyi (1990). The Art of Seeing: An Interpretation of the Aesthetic Encounter. Getty Center for Education in the Arts.
    What is the nature of the aesthetic experience? Is it the same for everyone? It is possible to facilitate its occurrence? This book focuses on the psychology of the aesthetic experience and on the perception and understanding of art, suggesting ways to raise levels of visual literacy and enhance artistic enjoyment. The findings will be of importance not only to museum professionals and art educators, but also to psychologists and those interested in the nature of the aesthetic experience.
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  37. Kimberley Curtis (1999). Our Sense of the Real: Aesthetic Experience and Arendtian Politics. Cornell University Press.
    Arendt's innovation is to recognize that this countenancing of others is an aesthetic experience that creates the political world.Curtis plumbs the relevance of ...
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  38. David Davies (2008). Collingwood's ‘Performance’ Theory of Art. British Journal of Aesthetics 48 (2):162-174.
    Even if we reject the Wollheimian reading of Collingwood as an Idealist in the ontology of art, it remains puzzling how his non-Idealist ontology fits with his idea of art as expression. In trying to clarifying these matters, I argue that (i) the work of art, for Collingwood, is an activity, not the product of an activity; (ii) puzzling features of the Principles arise from attempts to reconcile this claim with the idea of art as expression while preserving the art/craft (...)
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  39. Angelo A. de Gennaro (1964). Croce and de Sanctis. Journal of Aesthetics and Art Criticism 23 (2):227-231.
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  40. Angelo A. de Gennaro (1963). Croce and Vico. Journal of Aesthetics and Art Criticism 22 (1):43-46.
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  41. Douglas J. Dempster (1985). Aesthetic Experience and Psychological Definitions of Art. Journal of Aesthetics and Art Criticism 44 (2):153-165.
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  42. A. E. Denham (2000). Metaphor and Moral Experience. Oxford University Press.
    Alison Denham examines the ways in which our engagement with literary art, and metaphorical discourse in particular, informs our moral beliefs. She considers to what extent moral and metaphorical discourses are capable of truth or falsehood, warrant or justification, and how it is that we understand these discourses. This vital new study offers a fresh view of the nature of the moral and the metaphorical, and the relations between art and morality.
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  43. Lawrence J. Dennis & Peter G. Whitehouse (1977). Music Appreciation: The Confrontation of Social Interest and Aesthetic Experience. Educational Theory 27 (2):141-147.
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  44. John Dewey (1950). Aesthetic Experience as a Primary Phase and as an Artistic Development. Journal of Aesthetics and Art Criticism 9 (1):56-58.
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  45. George Dickie (1965). Beardsley's Phantom Aesthetic Experience. Journal of Philosophy 62 (5):129-136.
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  46. T. J. Diffey (1990). Schopenhauer's Account of Aesthetic Experience. British Journal of Aesthetics 30 (2):132-142.
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  47. John Dilworth (2005). A Double Content Theory of Artistic Representation. Journal of Aesthetics and Art Criticism 63 (3):249–260.
    The representational content or subject matter of a picture is normally distinguished from various non-representational components of meaning involved in artworks, such as expressive, stylistic or intentional factors. However, I show how such non subject matter components may themselves be analyzed in content terms, if two different categories of representation are recognized--aspect indication for stylistic etc. factors, and normal representation for subject matter content. On the account given, the relevant kinds of content are hierarchically structured, with relatively unconceptualized lower level (...)
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  48. Ellen Dissanayake (1982). Aesthetic Experience and Human Evolution. Journal of Aesthetics and Art Criticism 41 (2):145-155.
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  49. Mikel Dufrenne (1973). The Phenomenology of Aesthetic Experience. Evanston [Ill.]Northwestern University Press.
    Translator's Foreword The Phenomenology of Aesthetic Experience capped one of the most remarkable decades in the history of modern philosophy. ...
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  50. Colleen Dunagan (2005). Dance, Knowledge, and Power. Topoi 24 (1):29-41.
    Susanne K. Langer contributed an exhaustive account of aesthetics, Feeling and Form, in which she articulated her schema of the virtual and wove together the aesthetic elements of music, visual arts, dance, and literature/theater. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. In this paper, I re-read Langers philosophy through a perspective built on intersections between phenomenology, pragmatism, and (...)
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  51. Marcus Düwell (1999). Aesthetic Experience, Medical Practice, and Moral Judgement. Critical Remarks on Possibilities to Understand a Complex Relationship. Medicine, Health Care and Philosophy 2 (2):161-168.
    The aim of the paper is to examine the possible relationships between the different dimensions of aesthetics on the one hand, and medical practice and medical ethics on the other hand. Firstly, I consider whether the aesthetic perception of the human body is relevant for medical practice. Secondly, a possible analogy between the artistic process and medical action is examined. The third section concerns the comparison between medical ethical judgements and aesthetic judgement of taste. It is concluded that the mutual (...)
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  52. C. E. Emmer (2001). The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment. In Volker Gerhardt, Rolf Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung: Akten des IX. Internationalen Kant-Kongresses, Vol. 3. Walter de Gruyter.
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
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  53. Martin Eshleman (1966). Aesthetic Experience, The Aesthetic Object and Criticism. The Monist 50 (2):281-298.
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  54. Susan L. Feagin & Patrick Maynard (eds.) (1997). Aesthetics. Oxford University Press.
    Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan Sontag. (...)
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  55. Jessica R. Feldman (2002). Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience. Cambridge University Press.
    In Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience Jessica Feldman sheds a pragmatist light on the relation between the Victorian age and Modernism by dislodging truistic notions of Modernism as an art of crisis, rupture, elitism and loss. She examines aesthetic sites of Victorian Modernism - including workrooms, parlours, friendships, and family relations as well as printed texts and paintings - as they develop through interminglings and continuities as well as gaps and breaks. Examining the works of John (...)
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  56. David E. W. Fenner (2003). Aesthetic Experience and Aesthetic Analysis. Journal of Aesthetic Education 37 (1).
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  57. J. N. Findlay (1967). The Perspicuous and the Poignant: Two Aesthetic Fundamentals. British Journal of Aesthetics 7 (1):3-19.
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  58. David Galin (2004). Aesthetic Experience: Marcel Proust and the Neo-Jamesian Structure of Awareness. Consciousness and Cognition 13 (2):241-253.
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  59. Michael B. Gill, Lord Shaftesbury [Anthony Ashley Cooper, 3rd Earl of Shaftesbury]. Stanford Encyclopedia of Philosophy.
    Shaftesbury's philosophy combined a powerfully teleological approach, according to which all things are part of a harmonious cosmic order, with sharp observations of human nature (see section 2 below). Shaftesbury is often credited with originating the moral sense theory, although his own views of virtue are a mixture of rationalism and sentimentalism (section 3). While he argued that virtue leads to happiness (section 4), Shaftesbury was a fierce opponent of psychological and ethical egoism (section 5) and of the egoistic social (...)
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  60. Richard Glauser (2002). Aesthetic Experience in Shaftesbury: Richard Glauser. Aristotelian Society Supplementary Volume 76 (1):25–54.
    [Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in (...)
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  61. Peter Goldie (2008). Virtues of Art and Human Well-Being. Aristotelian Society Supplementary Volume 82 (1):179-195.
    What is the point of art, and why does it matter to us human beings? The answer that I will give in this paper, following on from an earlier paper on the same subject, is that art matters because our being actively engaged with art, either in its production or in its appreciation, is part of what it is to live well. The focus in the paper will be on the dispositions—the virtues of art production and of art appreciation—that are (...)
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  62. Carol S. Gould (1994). Clive Bell on Aesthetic Experience and Aesthetic Truth. British Journal of Aesthetics 34 (2):124-133.
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  63. Biswas Goutam (1995). Art as Dialogue: Essays in Phenomenology of Aesthetic Experience. D.K. Printworld.
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  64. Anthony Graybosch (2002). American Beauty. Acta Analytica 17 (1):133-150.
    Kant’s approach to the nature of artworks suggests that art has a metaphysical dimension that accounts for the two major elements of aesthetic experience. Aesthetic judgements are occasioned by experiences of pleasure and have an objective aspect since they are experiences with which other persons are expected to agree. More recently, Arthur Danto has argued that an artwork must be situated in an artworld. Pragmatists see aesthetic experience instead as integral to experience and requiring no special explanation other than association (...)
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  65. Daniel Green (2003). Literature Itself: The New Criticism and Aesthetic Experience. Philosophy and Literature 27 (1):62-79.
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  66. Clement Greenberg (1999). Homemade Esthetics: Observations on Art and Taste. Oxford University Press.
    Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most (...)
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  67. Hans Ulrich Gumbrecht (2004). Production of Presence: What Meaning Cannot Convey. Stanford University Press.
    Production of Presence is a comprehensive version of the thinking of Hans Ulrich Gumbrecht, one of the most consistently original literary scholars writing today. It offers a personalized account of some of the central theoretical movements in literary studies and in the humanities over the past thirty years, together with an equally personal view of a possible future. Based on this assessment of the past and the future of literary studies and the humanities, the book develops the provocative thesis that, (...)
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  68. Paul Guyer (2003). The Cognitive Element in Aesthetic Experience: Reply to Matravers. British Journal of Aesthetics 43 (4):412-418.
    as a Kantian model of aesthetic experience a free play of the cognitive faculties with beliefs or propositions. This is false to Kant, whose conception is better interpreted as a free play with elements of cognition such as intuitions and concepts. More importantly, an account closer to Kant's original provides a less restrictive model of aesthetic experience than Matravers's interpretation does, and therefore one that more readily fits a much larger number of cases.
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  69. A. Hagerman (2010). Aesthetic Experience. Teaching Philosophy 33 (3):323-326.
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  70. James R. Hamilton (2006). Understanding Plays. In Saltz Krasner (ed.), Staging Philosophy.
    Hamilton argues that there is a level of understanding of theatrical performances, and narrative performances in particular (called "plays"), that does not require grasp of the large-scale aesthetic features that usually inform the structure of what is presented. This "basic understanding" is required for any spectator to go on to have a deeper understanding and, so, grounds any spectator's understanding of the larger-scale features of a performance.
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  71. Mufid James Hannush (1988). Skinner, Piaget, and the Existential-Phenomenologist: Their Radical Differences in Relation to Poetic, Artistic, or Aesthetic Experience and Behavior. Journal of Phenomenological Psychology 19 (1):93-102.
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  72. Michel ter Hark (2010). Experience of Meaning, Secondary Use and Aesthetics. Philosophical Investigations 33 (2):142-158.
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  73. Daniel Alan Herwitz (2008). Aesthetics: Key Concepts in Philosophy. Continuum.
    Introduction and the birth of aesthetics -- Taste and judgment -- Art and experience -- Modern definitions of art and the problem of new media -- Conclusion: Art and truth.
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  74. Mysore Hiriyanna (1997). Art Experience. Manohar.
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  75. Angela Hobart & Bruce Kapferer (eds.) (2004). Aesthetics in Performance: Formations of Symbolic Construction and Experience. Berghahn Books.
    Introduction The Aesthetics of Symbolic Construction and Experience Bruce Kapferer and Angela Hobart The essays in this volume address aesthetic forms and ...
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  76. Iii Holmes Rolston (1998). Aesthetic Experience in Forests. Journal of Aesthetics and Art Criticism 56 (2):157-166.
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  77. R. Hopkins (2010). Sculpture and Perspective. British Journal of Aesthetics 50 (4):357-373.
    In every picture there is a perspective: the picture represents its object from a point (or points) of view. Is the same true of sculpture, and in particular is it true of the purest form of sculpture, sculpture in the round? I address this issue in two ways. First, I explore the prospects for reasoning that perspective forms part of the content of some sculptures by adapting an argument from M. G. F. Martin for the parallel claim in the case (...)
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  78. Robert Hopkins (2005). Aesthetics, Experience, and Discrimination. Journal of Aesthetics and Art Criticism 63 (2):119–133.
    Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences (...)
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  79. Robert Hopkins (1998). Picture, Image and Experience: A Philosophical Inquiry. Cambridge University Press.
    How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...)
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  80. J. Hyman (2000). Pictorial Art and Visual Experience. British Journal of Aesthetics 40 (1):21-45.
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  81. Lawrence W. Hyman (1986). A Defence of Aesthetic Experience: In Reply to George Dickie. British Journal of Aesthetics 26 (1):62-63.
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  82. Roman Ingarden (1961). Aesthetic Experience and Aesthetic Object. Philosophy and Phenomenological Research 21 (3):289-313.
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  83. Sherri Irvin (2008). The Pervasiveness of the Aesthetic in Ordinary Experience. British Journal of Aesthetics 48 (1):29-44.
    I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...)
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  84. Sherri Irvin (2004). Artworks and Representational Properties. Dialogue 43 (4):627-644.
    A sustained challenge to the view that artworks are physical objects relates to the alleged inability of physical objects to possess representational properties, which some artworks clearly do possess. I argue that the challenge is subject to confusions about representational properties and aesthetic experience. I show that a challenge to artwork-object identity put forward by Danto is vulnerable to a similar criticism. I conclude by noting that the identity of artworks and physical objects is consistent with the insight that attending (...)
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  85. Gary Iseminger (2004). The Aesthetic Function of Art. Cornell University Press.
    Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.
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  86. Leon Jacobson (1960). Art as Experience and American Visual Art Today. Journal of Aesthetics and Art Criticism 19 (2):117-126.
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  87. James L. Jarrett (1953). Art as Cognitive Experience. Journal of Philosophy 50 (23):681-688.
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  88. Hans Robert Jauss (1988). Tradition, Innovation, and Aesthetic Experience. Journal of Aesthetics and Art Criticism 46 (3):375-388.
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  89. Thomas M. Jeannot (2001). A Propaedeutic to the Philosophical Hermeneutics of John Dewey: "Art as Experience" and "Truth and Method". Journal of Speculative Philosophy 15 (1):1-13.
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  90. Bertram Jessup (1960). Taste and Judgment in Aesthetic Experience. Journal of Aesthetics and Art Criticism 19 (1):53-59.
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  91. E. John (2007). Aesthetics, Imagination, and the Unity of Experience. British Journal of Aesthetics 47 (2):215-216.
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  92. James R. Johnson (1961). Art History and the Immediate Visual Experience. Journal of Aesthetics and Art Criticism 19 (4):401-406.
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  93. James Scott Johnston (2004). Reflections on Richard Shusterman's Dewey. Journal of Aesthetic Education 38 (4).
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  94. James Scott Johnston (2002). John Dewey and the Role of Scientific Method in Aesthetic Experience. Studies in Philosophy and Education 21 (1):1-15.
    In this paper I examine a controversy ongoingwithin current Deweyan philosophy of educationscholarship regarding the proper role and scopeof science in Dewey's concept of inquiry. Theside I take is nuanced. It is one that issensitive to the importance that Dewey attachesto science as the best method of solvingproblems, while also sensitive to thosestatements in Dewey that counter a wholesalereductivism of inquiry to scientific method. Iutilize Dewey's statements regarding the placeaccorded to inquiry in aesthetic experiences ascharacteristic of his method, as bestconceived.
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  95. Deborah Kerdeman (2005). Aesthetic Experience and Education: Themes and Questions. Journal of Aesthetic Education 39 (2).
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  96. Matthew Kieran (ed.) (2006). Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell Pub..
    Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, and especially commissioned (...)
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  97. Ha Poong Kim (2011). Beyond Words, Things, Thoughts, Feelings: Essays on Aesthetic Experience. Sussex Academic Press.
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  98. Price Kingsley (1979). What Makes an Experience Aesthetic? British Journal of Aesthetics 19 (2):131-143.
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  99. James Kirwan (1999). Beauty. Distributed Exclusively in the Usa by St. Martin's Press.
    James Kirwan provides both a lucid and concise history of the concept of beauty as a distinct aesthetic experience (marginalized by the rise of philosophical aesthetics in the twentieth century), and offers a new and persuasive answer to the age-old question of what beauty is an answer that, placing the responsibility for beauty firmly with the eye of the beholder, explains what it is in this "eye" that gives rise to beauty.
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  100. Helen Knight (1930). Aesthetic Experience in Pictorial Art. The Monist 40 (1):74-83.
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