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  1. Corey Abel (forthcoming). Whatever It Turns Out To Be: Oakeshott on Aesthetic Experience. In Leslie MArsh Paul Franco (ed.), Whatever It Turns Out To Be: Oakeshott on Aesthetic Experience. Penn State UP.
    This essay presents a multifold argument on Oakeshott's aesthetics. First, his famous essay "The Voice of Poetry" deals more explicitly and thoroughly with art than is often acknowledged. Second, aesthetic experience is a competitor to philosophic insight in so far as it discloses the coherence of a world of ideas through its uniting form and content; yet "art" remains a mode. Third, the essay points out that the absence of history from any major role in Oakeshott's most important treatment of (...)
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  2. Abhinavagupta (1968). The Aesthetic Experience According to Abhinavagupta. Varanasi, Chowkhamba Sanskrit Series Office.
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  3. Virgil C. Aldrich (1966). Back to Aesthetic Experience. Journal of Aesthetics and Art Criticism 24 (3):365-371.
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  4. 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. 3--26.
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  5. 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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  6. R. T. Allen (1970). The Aesthetic Experience Again. British Journal of Aesthetics 10 (4):344-349.
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  7. Meter Amevans (1956). What is Form? Journal of Aesthetics and Art Criticism 15 (1):85-93.
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  8. Douglas R. Anderson (1992). Possibility of the Aesthetic Experience. Idealistic Studies 22 (3):219-220.
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  9. R. N. Austgard (2006). The Aesthetic Experience of Nursing. Nursing Philosophy 7 (1):11–19.
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  10. Jay E. Bachrach (1974). On Criteria for Aesthetic Experience. Philosophia 4 (2-3):319-326.
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  11. Archie J. Bahm (1958). Aesthetic Experience and Moral Experience. Journal of Philosophy 55 (20):837-846.
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  12. 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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  13. Monroe C. Beardsley (1969). Aesthetic Experience Regained. Journal of Aesthetics and Art Criticism 28 (1):3-11.
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  14. 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.
  15. Alessandro Bertinetto (2006). Arte como desrealización. Daimon 39:175-185.
    The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...)
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  16. Landon E. Beyer (1985). Aesthetic Experience for Teacher Preparation and Social Change. Educational Theory 35 (4):385-397.
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  17. 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):80-98.
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  18. 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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  19. Nicolas J. Bullot (2009). Material Anamnesis and the Prompting of Aesthetic Worlds. Journal of Consciousness Studies 16 (1):85-109.
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  20. 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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  21. E. F. Carrit (1963). The Aesthetic Experience of Architecture. British Journal of Aesthetics 3 (1):67-69.
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  22. N. Carroll (2001). Enjoyment, Indifference, and Aesthetic Experience: Comments for Robert Stecker. British Journal of Aesthetics 41 (1):81-83.
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  23. Noël Carroll (2012). Recent Approaches to Aesthetic Experience. Journal of Aesthetics and Art Criticism 70 (2):165-177.
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  24. 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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  25. 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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  26. 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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  27. 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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  28. 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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  29. John Clammer (1970). On Defining the Aesthetic Experience. British Journal of Aesthetics 10 (2):147-151.
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  30. Jonathan Owen Clark (2013). Aesthetic Experience, Subjective Historical Experience and the Problem of Constructivism. Journal of the Philosophy of History 7 (1):57-81.
    This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the phenomenological tradition and the philosophy (...)
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  31. Rory J. Conces (1994). Aesthetic Alienation and the Art of Modernity. Southwest Philosophy Review 10 (2):149-64.
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  32. 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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  33. Benedetto Croce (1952). Dewey's Aesthetics and Theory of Knowledge. Journal of Aesthetics and Art Criticism 11 (1):1-6.
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  34. Benedetto Croce (1948). On the Aesthetics of Dewey. Journal of Aesthetics and Art Criticism 6 (3):203-207.
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  35. 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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  36. 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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  37. 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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  38. 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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  39. 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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  40. 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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  41. 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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  42. Angelo A. de Gennaro (1964). Croce and de Sanctis. Journal of Aesthetics and Art Criticism 23 (2):227-231.
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  43. Angelo A. de Gennaro (1963). Croce and Vico. Journal of Aesthetics and Art Criticism 22 (1):43-46.
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  44. 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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  45. 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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  46. 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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  47. George Dickie (1965). Beardsley's Phantom Aesthetic Experience. Journal of Philosophy 62 (5):129-136.
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  48. T. J. Diffey (1990). Schopenhauer's Account of Aesthetic Experience. British Journal of Aesthetics 30 (2):132-142.
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  49. 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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  50. Ellen Dissanayake (1982). Aesthetic Experience and Human Evolution. Journal of Aesthetics and Art Criticism 41 (2):145-155.
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