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Siblings:History/traditions: Aesthetic Judgment
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  1. María José Alcaraz León (2008). The Rational Justification of Aesthetic Judgments. Journal of Aesthetics and Art Criticism 66 (3):291-300.
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  2. María José Alcaraz León (2008). The Rational Justification of Aesthetic Judgments. Journal of Aesthetics and Art Criticism 66 (3):291-300.
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  3. Henry E. Allison (2003). Reply to the Comments of Longuenesse and Ginsborg. Inquiry 46 (2):182 – 194.
    In this discussion I respond to some of the criticisms raised by Béatrice Longuenesse and Hannah Ginsborg to my account of Kant's aesthetic theory presents in Kant's Theory of Taste.
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  4. Henry E. Allison (2001). Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. Cambridge University Press.
    This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity of (...)
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  5. Karl Ameriks (1994). Review: Guyer, Kant and the Experience of Freedom: Essays on Aesthetics and Morality. [REVIEW] Ethics 105 (1):207-.
  6. Karl Ameriks (1983). Kant and the Objectivity of Taste. British Journal of Aesthetics 23 (1):3-17.
  7. Gary Banham (2002). Mapplethorpe, Duchamp and the Ends of Photography. Angelaki 7 (1):119-128.
    This paper presents an argument for seeing Marcel Duchamp and Robert Mapplethorpe as opposite ends of a tradition of negotiation of art with its conditions of production. The piece takes seriously Kant's suggestions concerning the fine arts and contests views of art that see the Kantian tradition as formally fixed.
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  8. Dorit Barchana-Lorand (2002). The Kantian Beautiful, or, the Utterly Useless: Prolegomena to Any Future Aesthetics. Kant-Studien 93 (3):309–323.
  9. Ethel M. Bartlett (1937). Types of Aesthetic Judgment. Allen & Unwin.
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  10. Peter Baumanns (1981). Kant's Logic of Aesthetic Judgment. Philosophy and History 14 (1):23-25.
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  11. Anne Margaret Baxley (2005). The Practical Significance of Taste in Kant's Critique of Judgment: Love of Natural Beauty as a Mark of Moral Character. Journal of Aesthetics and Art Criticism 63 (1):33–45.
  12. Avner Baz (2004). What's the Point of Calling Out Beauty? British Journal of Aesthetics 44 (1):57-72.
    The purpose of this paper is to use Kant's Critique of Judgement in order to raise and motivate the question of the point of judgements of beauty, to illustrate the philosophical tendency to neglect or even repress it, and to begin to look for an answer to that question. On the way, I will consider Kant's implied answer to the question and will argue that it is unsatisfactory in that it relies on a false picture of the everyday subject's relation (...)
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  13. Richard H. Bell (1989). Giacometti's Art as a Judgment on Culture. Journal of Aesthetics and Art Criticism 47 (1):15-20.
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  14. John Bender (1987). Supervenience and the Justification of Aesthetic Judgments. Journal of Aesthetics and Art Criticism 46 (1):31-40.
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  15. Andrew E. Benjamin (ed.) (1992). Judging Lyotard. Routledge.
    Best known for his book The Postmodern Condition , Jean-Francois Lyotard is one of the leading figures in contemporary French philosophy. This is the first collection of articles to offer an estimation and critique of his work, with particular focus on the importance to Lyotard of the question of judgement. Lyotard's interest in judgement is evident in his continuing engagement with the work of Kant. Lyotard's own essay, Sensus Communis , which opens the volume, investigates through Kant the presuppositions of (...)
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  16. David Berger (2009). Kant's Aesthetic Theory: The Beautiful and Agreeable. Continuum.
    The twofold conception of taste -- The beautiful and the agreeable -- Sensations and interests -- Some varieties of normativity.
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  17. Susan Best (2005). Mild Intoxication and Other Aesthetic Feelings. Angelaki 10 (3):157 – 170.
    The enjoyment of beauty has a peculiar, mildly intoxicating quality of feeling The science of aesthetics investigates the conditions under which things are felt as beautiful, but it has been unable to give any explanation of the nature and origin of beauty Psychoanalysis, unfortunately, has scarcely anything to say about beauty either.1 Freud.
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  18. Harry Blocker (1965). Kant's Theory of the Relation of Imagination and Understanding in Aesthetic Judgements of Taste. British Journal of Aesthetics 5 (1):37-45.
  19. Steven Ravett Brown (2004). On the Mechanism of the Generation of Aesthetic Ideas in Kant's Critique of Judgment. British Journal for the History of Philosophy 12 (3):487 – 499.
  20. Steven Ravett Brown (2000). A Comment on the Mechanism of the Generation of Aesthetic Ideas in Kant's Critique of Judgment. [Journal (Paginated)] (in Press).
    In Kant's Critique of Judgment (CJ), the actual mechanism of the construction of aesthetic ideas is only briefly sketched. I suggest that there may be a connection between certain aspects of Sections 49 and 59, such that the creation of aesthetic ideas can be related to the process of "symbolic hypotyposis" (¤59.2). I will argue that the process of symbolic hypotyposis relates to the formation of aesthetic attributes, as symbols, through an analogical process; that a symbol acts, in effect, as (...)
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  21. Malcolm Budd (2008). Aesthetic Essays. Oxford University Press.
    Introduction -- Aesthetic judgements, aesthetic principles, and aesthetic properties -- Aesthetic essence -- The acquaintance principle -- The intersubjective validity of aesthetic judgements -- The pure judgement of taste as an aesthetic reflective judgement -- Understanding music -- The characterization of aesthetic qualities by essential metaphors and quasi-metaphors -- Musical movement and aesthetic metaphors -- Aesthetic realism and emotional qualities of music -- On looking at a picture -- The look of a picture -- Wollheim on correspondence, projective properties, and (...)
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  22. Malcolm Budd (2007). The Intersubjective Validity of Aesthetic Judgements. British Journal of Aesthetics 47 (4):333-371.
    All aesthetic judgements, whether descriptive, evaluative or some combination of the two, and whatever they might be about, whether works of art, artefacts of other kinds, or natural things, declare themselves to be, not mere announcements or expressions of personal responses to the objects of judgement, but claims meriting the agreement of others. Despite the frequent appeal in everyday life to the nihilistic interpretation of the saying ‘It's all a matter of taste’, the doctrine of aesthetic nihilism—the view that such (...)
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  23. Malcolm Budd (2001). The Pure Judgement of Taste as an Aesthetic Reflective Judgement. British Journal of Aesthetics 41 (3):247-260.
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  24. Malcolm Budd (1999). Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties. European Journal of Philosophy 7 (3):295–311.
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  25. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: Natural Beauty. British Journal of Aesthetics 38 (1):1-18.
  26. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature Part III: The Sublime in Nature. British Journal of Aesthetics 38 (3):233-250.
  27. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part II: Natural Beauty and Morality. British Journal of Aesthetics 38 (2):117-126.
  28. Edmund Burke, On the Sublime and Beautiful.
  29. Edmund Burke (2008). A Philosophical Enquiry Into the Sublime and Beautiful. Routledge Classics.
    'One of the greatest essays ever written on art.' - The Guardian Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful is one of the most important works of aesthetics ever written. Whilst many writers have taken up their pen to write of ‘the beautiful’, Burke’s subject here was that quality he uniquely distinguished as ‘the sublime’ – an all-consuming force beyond beauty that compelled terror as much as rapture in all who beheld it. (...)
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  30. Edmund Burke (1998/2008). A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime and Beautiful: And Other Pre-Revolutionary Writings. Penguin Books.
    CONTENTS LIST OF ABBREVIATIONS Vtt A CHRONOLOGY OF EDMUND BURKE INTRODUCTION X FURTHER READING XXxix A NOTE ON THE TEXTS xliv A Vindication of Natural ...
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  31. Edmund Burke (1759/2008). A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime and Beautiful. Dover Publications.
    This eloquent 1757 treatise examines how interactions with the physical world affect formulation of ideals related to beauty and art. Tremendously influential on the development of aesthetic theory, this formative dissertation was among the first explorations of the concept of the sublime and remains a thought-provoking study for modern readers.
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  32. Edmund Burke (1759/1970). A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime and Beautiful, 1759. Menston,Scolar P..
    This eloquent 1757 treatise examines how interactions with the physical world affect formulation of ideals related to beauty and art. Tremendously influential on the development of aesthetic theory, this formative dissertation was among the first explorations of the concept of the sublime and remains a thought-provoking study for modern readers.
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  33. Douglas Burnham, Immanuel Kant: Aesthetics. Internet Encyclopedia of Philosophy.
  34. Daniel Came (2012). Moral and Aesthetic Judgments Reconsidered. Journal of Value Inquiry 46 (2):159-171.
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  35. Joseph Cannon (2008). The Intentionality of Judgments of Taste in Kant's Critique of Judgment. Journal of Aesthetics and Art Criticism 66 (1):53–65.
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  36. Luigi Caranti (2005). Logical Purposiveness and the Principle of Taste. Kant-Studien 96 (3):364-374.
    In both Introductions to the Critique of Judgment Kant seems to identify the a priori principle at the basis of aesthetic judgments with the principle that guides reflective judgment in its cognitive inquiry of nature, i.e. the purposiveness of nature or systematicity. For instance Kant writes.
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  37. Allen Carlson (1981). Nature, Aesthetic Judgment, and Objectivity. Journal of Aesthetics and Art Criticism 40 (1):15-27.
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  38. Howard Caygill (1989). Art of Judgement. B. Blackwell.
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  39. Ruth F. Chadwick & Clive Cazeaux (eds.) (1992). Kant's Critique of Judgement. Routledge.
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  40. Mark A. Cheetham (2001). Kant, Art, and Art History: Moments of Discipline. Cambridge University Press.
    Kant, Art, and Art History is the first systematic study of Kant's reception of and influence on the visual arts and art history. Arguing against Kant's transcendental approach to aesthetic judgment, Cheetham examines five 'moments' of his influence, including the use of Kant's political writings among German-speaking artists and critics in Rome around 1800; the canonized patterns of Kant's reception in late nineteenth- and early twentieth-century art history, particularly in the work of Wölfflin and Panofsky; and the Kantian language in (...)
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  41. Andrew Chignell (2007). Kant on the Normativity of Taste: The Role of Aesthetic Ideas. Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...)
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  42. Andrew Chignell (2006). Beauty as a Symbol of Natural Systematicity. British Journal of Aesthetics 46 (4):406-415.
    I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .
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  43. Robert Charles Clark (1970). Total Control and Chance in Musics. Part II. Reflections on Criticism and Judgment. Journal of Aesthetics and Art Criticism 29 (1):43-46.
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  44. Robert R. Clewis (2009). The Kantian Sublime and the Revelation of Freedom. Cambridge University Press.
    The Observations and the Remarks -- The Observations -- Forms of the sublime, and the grotesque -- Virtue -- The Remarks : history and background -- Four senses of freedom -- Enthusiasm : the passion of the sublime -- The judgment of the sublime -- Preliminary issues -- The mathematical and the dynamical sublime -- A third kind : the moral sublime -- Dependent and free sublimity -- The monstrous and the colossal -- Sublimity elicited by art -- Moral feeling (...)
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  45. Ted Cohen (2002). Three Problems in Kant's Aesthetics. British Journal of Aesthetics 42 (1):1-12.
    What does the faculty of Understanding do during the execution of a judgement of taste? How are singular judgements of beauty related to general judgements of beauty? For what reason is beauty the symbol of morality? The first question has a tentative answer, although one not obviously congenial to Kant. The second two questions have no compelling answers.
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  46. Francis X. J. Coleman (1974). The Harmony of Reason: A Study in Kant's Aesthetics. University of Pittsburgh Press.
    Introduction The General Bearings of Kant's Third Critique The Critique of Judgment may be broadly viewed as a work of philosophical diplomacy in which Kant ...
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  47. David E. Cooper (2008). Beautiful People, Beautiful Things. British Journal of Aesthetics 48 (3):247-260.
    This paper sympathetically examines the neglected virtue-centric idea that the primary location of beauty is in bodily expressions of human virtues, so that things like buildings are beautiful only because of an appropriate relationship they have to beautiful people. After a brief history of the idea as articulated by, for example, Kant, it is then distinguished from accounts of beauty with which it might be confused, such as the view that something is beautiful only if it helps to instil virtue. (...)
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  48. Donald Crawford (2010). Reflections on Beardsley's Aesthetics : Problems in the Philosophy of Criticism. Journal of Aesthetic Education 44 (1):pp. 19-25.
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  49. Daniel J. Crowley (1958). Aesthetic Judgment and Cultural Relativism. Journal of Aesthetics and Art Criticism 17 (2):187-193.
  50. Paul Crowther (1996). The Significance of Kant's Pure Aesthetic Judgement. British Journal of Aesthetics 36 (2):109-121.
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