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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 Filosofia 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 53 (125):195-229.
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  8. 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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  9. Silvana Borutti (2006). Filosofia Dei Sensi: Estetica Del Pensiero Tra Filosofia, Arte E Letteratura. R. Cortina.
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  10. 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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  11. 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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  12. Massimo Cacciari (1986). Interpretazione di Michelstaedter in Filosofia e poesia. Rivista di Estetica 26 (22):21-36.
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  13. David Carrier (2003). Sublime Poussin. Common Knowledge 9 (1):167-167.
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  14. Alberto Jl Carrillo Canan (2003). The Gardens of Versailles and the Sublime. Analecta Husserliana 78:47-58.
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  15. NoË Carroll & L. (2009). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  16. NoË Carroll & L. (2009). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  17. NoË Carroll & L. (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  18. NoË Carroll & L. (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  19. NoË Carroll & L. (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  20. NoË Carroll & L. (2007). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  21. NoË Carroll & L. (2007). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  22. 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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  23. Noël Carroll (2008). Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping. Wiley-Blackwell.
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  24. 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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  25. 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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  26. 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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  27. Ákos Cseke (2011). A Középkor És Az Esztétika. Akadémiai Kiadó.
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  28. 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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  29. 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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  30. 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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  31. 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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  32. Jos de Mul & France Grenaudier-Klijn (2011). Le Sublime (Bio)Technologique. Diogène 233 (1):45.
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  33. Jorge Aurelio Díaz (2013). Madanes, Leiser. Una alegría secreta. Ensayos de filosofía moderna. Ideas Y Valores 62 (151):253-257.
    El presente trabajo investiga las tesis sobre el poder civil de Alonso de la Veracruz que buscan incorporar en la comunidad política española a los habitantes autóctonos del Nuevo Mundo, tesis que suelen relacionarse con F. de Vitoria y el tomismo español, y que últimamente son consideradas parte del republicanismo novohispano elaborado desde la periferia americana. Se busca demostrar que su propósito era aplicar una teoría de derechos naturales, sin que ello implique participación política de los indios americanos. Se analiza (...)
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  34. Andreas Dorschel (2006). Über Kanonisierung. Musiktheorie 21 (1):6-12.
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  35. C. E. Emmer (1998). Kitsch Against Modernity. Art Criticism 13 (1):53-80.
    "The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...)
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  36. Carmen Elisa Escobar María (2008). Tragedy, Comedy and Humor in the Psychoanalysis. Eidos 8:136-158.
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  37. Josep Lluis Blasco Estellés (1972). El Lenguaje Común: Ensayos de Filosofía Analítica, de VC Chappell. Teorema: Revista Internacional de Filosofía 2 (6):141-143.
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  38. Susan L. Feagin (1995). Sublime. In Audi Robert (ed.), The Cambridge Dictionary of Philosophy. Cambridge University Press. 774.
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  39. Frances Ferguson (2013). Solitude and the Sublime: The Romantic Aesthetics of Individuation. Routledge.
    As interest in aesthetic experience evolved in the eighteenth century, discussions of the sublime located two opposed accounts of its place and use. Ferguson traces these two positions - the Burkean empiricist account and the Kantian formalist one - to argue that they had significance of aesthetics, including recent deconstructive and New Historicist criticism.
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  40. Hg Gadamer (1986). Filosofia e poesia in Filosofia e poesia. Rivista di Estetica 26 (22):3-11.
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  41. Ilia Galán (2011). Filosofía Del Caos, Estética y Otras Artes. Dykinson.
    Pensamiento atrevido y nuevo, visión abierta, donde el lector hallará cuestiones clave del conocimiento, pero también del confundir y fundir, metafísica, física, antropología, sociedad. Desde la psicología a la reunión de los hombres en ciudades, la política, todo penetrado de la mirada estética, como si el saber fuera una de las bellas artes. Cuestiones como la Orden del Temple, la francmasonería, el ciber-arte, la clonación de obras artísticas o las bibliotecas digitales se convierten en ejemplos para una filosofía alternativa. Ilia (...)
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  42. Ag Gargani (1986). Un percorso di ricerca nella scrittura: dai concetti alle immagini in Filosofia e poesia. Rivista di Estetica 26 (22):13-19.
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  43. Juan-Manuel Garrido (2008). La Formation des Formes. Galilée.
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  44. John Gibson (2001). Marcella Tarozzi Goldsmith, The Future of Art: An Aesthetics of the New and the Sublime Reviewed By. Philosophy in Review 21 (1):41-42.
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  45. Miguel Giusti (2013). Ensayos de filosofía del Derecho. Areté. Revista de Filosofía 1 (2):425-432.
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  46. S. Givone (1986). Poesia e conoscenza in Filosofia e poesia. Philosophie et poésie. Rivista di Estetica 26 (22):45-56.
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  47. Alan H. Goldman (1990). Aesthetic Qualities and Aesthetic Value. Journal of Philosophy 87 (1):23-37.
    To say that an object is beautiful or ugly is seemingly to refer to a property of the object. But it is also to express a positive or negative response to it, a set of aesthetic values, and to suggest that others ought to respond in the same way. Such judg- ments are descriptive, expressive, and normative or prescriptive at once. These multiple features are captured well by Humean accounts that analyze the judgments as ascribing relational properties. To say that (...)
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  48. Marcella Tarozzi Goldsmith (2001). The Future of Art: An Aesthetics of the New and the Sublime. British Journal of Aesthetics 41 (1).
    By analyzing the three loci of aesthetics -- the subjective, the objective, and the absolute -- the author concludes that only the sublime demonstrates that art is neither subjective nor objective. The one essential component of art is the new, the sole "instrument" that can guarantee art's vitality even when confronted by the nihilistic tendencies of modernit.
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  49. Rui-Hong Guo (1988). Jokes, Transgression, and Laughter. Semiotics:553-558.
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  50. Stephen Halliwell (2005). Greek Laughter and the Problem of the Absurd. Arion 13 (2).
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