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  1. Jorge Rendón Alarcón (2011). Reseña de "Hegel, pensador de la actualidad. Ensayos sobre la fenomenología Del espíritu Y otros textos" de Vanessa Lemm Y Juan ormeño karzulovic (eds.). Signos Filosóficos 13 (26):171-175.
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  2. Jaime Rubio Angulo (1992). Lo Sublime. Universitas Philosophica 17:37-50.
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  3. Rudolf Arnheim (1996). Beauty as Suitability. Journal of Aesthetics and Art Criticism 54 (3):251-253.
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  4. Armen Avanessian (2010). Phänomenologie Ironischen Geistes: Ethik, Poetik Und Politik der Moderne. Fink.
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  5. José María Artola Barrenechea (1990). Experiencias de Lo Sublime y Principios Racionales. Revista de filosofía (Chile) 3:83-112.
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  6. Julio Manso Barrios (1999). Divagación apasionada sobre Pío Baroja. Anales Del Seminario de Historia de la Filosofía 16:199.
    Me irrita la asepsia que ostentan algunos estudiosos, derivada del temor a asumir riesgos intelectuales. Contra esta clase de mediocridad expongo el legado de una impregnación estético-vital, que, en mi modesta opinión, constituye el modo sincero de revelar la calidad de un espíritu. Se notará un efecto de vasos comunicantes. Por ello, dispuesto a tratar sobre la personalidad de don Pío Baroja, lo haré compartiendo su profunda emoción de ser, cota que excede el alcance de lo anecdótico, de lo chismográfico (...)
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  7. Fernando R. De Moraes Barros (2012). Ao som do emaranhamento: a música e o discurso filosófico sobre as artes. Kriterion: Journal of Philosophy 53 (125):195-229.
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  8. M. Batts (1970). Literature In Medieval Germany. [REVIEW] Speculum 45 (2):326-327.
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  9. Inga Behrendt (2012). The Calligraphy of Medieval Music. [REVIEW] The Medieval Review 9.
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  10. John L. Bell (2015). Reflections on Mathematics and Aesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):159-179.
    In this paper I reflect on the nature of mathematical beauty, and examine the connections between mathematics and the arts. I employ Plutarch’s distinction between the intelligible and the sensible, to compare the beauty of mathematics with the beauties of music, poetry and painting. While the beauty of mathematics is almost exclusively intelligible, and the beauties of these arts primarily sensible, it is pointed out that the latter share with mathematics a certain kind of intelligible beauty. The paper also contains (...)
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  11. Kenneth Bernard (1964). Charles Brockden Brown and the Sublime. Pacific Philosophical Quarterly 45 (2):235.
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  12. P. Bertetto (1986). La scrittura e la morte. Sulla poetica di Michel Leiris in Filosofia e poesia. Philosophie et poésie. Rivista di Estetica 26 (22):67-79.
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  13. Cayetano Betancur (1955). Sociologia de la Autenticidad y la Simulacion Seguido de Otros Ensayos. [Ministerio de Educacion Nacional, Division de Extension Cultural].
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  14. Jesse Billet (2010). Medieval Liturgical Chant and Patristic Exegesis: Words and Music in the Second-Mode Tracts. [REVIEW] The Medieval Review 4.
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  15. Vladimâir Boreckây (1996). Odvr'acen'a Tv'aér Humoru Ke Komice Absurdity. Dauphin.
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  16. Vladimír Borecký (1996). Odvrácená Tvár Humoru Ke Komice Absurdity. Dauphin.
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  17. Silvana Borutti (2006). Filosofia Dei Sensi: Estetica Del Pensiero Tra Filosofia, Arte E Letteratura. R. Cortina.
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  18. Chandos Michael Brown (2012). The First American Sublime. In Timothy M. Costelloe (ed.), The Sublime: From Antiquity to the Present. Cambridge University Press
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  19. Malcolm Budd (2006). The Characterization of Aesthetic Qualities by Essential Metaphors and Quasi-Metaphors. British Journal of Aesthetics 46 (2):133-143.
    My paper examines a vital but neglected aspect of Frank Sibley's pioneering account of aesthetic concepts. This is the claim that many aesthetic qualities are such that they can be characterized adequately only by metaphors or ‘quasi-metaphors’. Although there is no indication that Sibley embraced it, I outline a radical, minimalist conception of the experience of perceiving an item as possessing an aesthetic quality, which, I believe, has wide application and which would secure Sibley's position for those aesthetic qualities that (...)
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  20. Alberto E. Buela (1994). Ensayos Iberoamericanos. Monograph Collection (Matt - Pseudo).
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  21. Henry Bugbee (1967). The Philosophic Significance of the Sublime. Philosophy Today 11 (1):55.
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  22. Robert Burlin (1986). Essays on Medieval Literature. [REVIEW] Speculum 61 (3):630-631.
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  23. J. Burrow (1998). The World Grown Old in Later Medieval Literature. [REVIEW] Speculum 73 (3):830-832.
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  24. Massimo Cacciari (1986). Interpretazione di Michelstaedter in Filosofia e poesia. Rivista di Estetica 26 (22):21-36.
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  25. Anthony Cárdenas-Rotunno (1999). Alfonso X El Sabio, 1252–1284. [REVIEW] Speculum 74 (4):1067-1068.
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  26. David Carrier (2003). Sublime Poussin. Common Knowledge 9 (1):167-167.
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  27. Alberto Jl Carrillo Canan (2003). The Gardens of Versailles and the Sublime. Analecta Husserliana 78:47-58.
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  28. NoË Carroll & L. (2009). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  29. NoË Carroll & L. (2009). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  30. NoË Carroll & L. (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  31. NoË Carroll & L. (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  32. NoË Carroll & L. (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  33. NoË Carroll & L. (2007). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  34. NoË Carroll & L. (2007). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  35. Noël Carroll (2014). Humour: A Very Short Introduction. OUP Oxford.
    Humour is a universal feature of human life. In this Very Short Introduction Noel Carroll considers the nature and value of humour, from its leading theories and its relation to emotion and cognition, to ethical questions of its morality and its significance in shaping society.
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  36. Noël Carroll (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  37. Pablo García Castillo (2010). Bello es lo que uno ama. Anales Del Seminario de Historia de la Filosofía 27:255-275.
    Desde la poesía lírica griega hasta la estética de Plotino, puede contemplarse la visión de la belleza como el objeto del amor y del deseo del Bien. Platón no alcanza una definición de lo bello en los diálogos juveniles, pero expresa de forma brillante su concepción del amor y de la belleza en el Banquete y en el Fedro. Y Plotino, interpretando estos textos platónicos, eleva el concepto de la belleza hasta la contemplación gozosa del Bien. Para él, la gracia (...)
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  38. Augusto Castro (2013). Repensando la tradición nacional. Estudios sobre la filosofia reciente en el Perú. Areté. Revista de Filosofía 3 (2):327-333.
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  39. Maricruz Castro (1991). El Espacio Deshabitado Ensayos Sobre Teor'ia de Arte, Lingèu'istica y Literatura.
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  40. Olivia Cohen (2002). Comme Un Sublime Esquif-- Essai Sur la Danse Contemporaine. Monograph Collection (Matt - Pseudo).
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  41. Simon Critchley (2002). Did You Hear the One About the Philosopher Writing a Book on Humour? Think 1 (2):103.
    Simon Critchley, Professor of Philosophy at the University of Essex, investigates humour. And tells some pretty good jokes.
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  42. Ákos Cseke (2011). A Középkor És Az Esztétika. Akadémiai Kiadó.
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  43. José Manuel Díaz de Bustamante (1998). E por ende dix sabio Marciano. Apostilla a un aspecto de la recepción de Virgilio y la tradición textual de Andresa Capellans. Humanitas 50:819-826.
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  44. José Acácio Aguiar de Castro (2006). O Sentido Do Belo No Século Xii: E Outros Estudos. Imprensa Nacional-Casa da Moeda.
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  45. Rafael De Clercq (2013). Reflections on a Sofa Bed: Functional Beauty and Looking Fit. Journal of Aesthetic Education 47 (2):35-48.
    This essay argues for two conclusions about functional beauty, as this notion has been understood by Parsons and Carlson in a recent book by the same name. First of all, it is argued that functional beauty either is not a distinct kind of beauty or that the members of this kind are not all and only instances of the property of looking fit. Second, it is argued that functional beauty is relative only to categories corresponding to essential functions. The second (...)
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  46. Rafael De Clercq (2011). Aesthetic Properties. In Theodore Gracyk & Andrew Kania (eds.), Routledge Companion to Philosophy and Music. Routledge 144-154.
    This chapter focuses on three questions concerning the aesthetic properties of music: What determines whether a musical piece has a certain aesthetic property? Is music capable of having emotional properties such as sadness? And are there aesthetic properties that music is incapable of having?
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  47. Rafael De Clercq (2008). Aesthetic Ideals. In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan 188-202.
    The aim of this chapter is to understand how sortals determine what aesthetic properties an object has. It is argued that Frank Sibley’s notion of an ideal of beauty does not help us to achieve that aim. Instead, it is argued, the special aesthetic relevance of sortals is better understood by reference to the (non-aesthetic) ideas of normality and functionality associated with sortals. In passing, the paper also argues that there must be a maximum degree of beauty if non-comparative judgments (...)
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  48. Rafael De Clercq (2005). The Aesthetic Peculiarity of Multifunctional Artefacts. British Journal of Aesthetics 45 (4):412-425.
    Echoing a distinction made by David Wiggins in his discussion of the relation of identity, this paper investigates whether aesthetic adjectives such as ‘beautiful’ are sortal-relative or merely sortal-dependent. The hypothesis guiding the paper is that aesthetic adjectives, though probably sortal-dependent in general, are sortal-relative only when used to characterize multifunctional artefacts. This means that multifunctional artefacts should be unique in allowing the following situation to occur: for some object x there are sortals K and K' such that x is (...)
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  49. Jos de Mul & France Grenaudier-Klijn (2011). Le Sublime (Bio)Technologique. Diogène 233 (1):45.
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  50. Isabel Dias (1997). A Arte de Ser Bom Cavaleiro.
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