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  1. Derek Allan (2016). Vanquishing Temporal Distance: Malraux, Art and Metamorphosis. Australian Journal of French Studies 53 (1-2):136-148.
    How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...)
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  2. Derek Allan (2013). Art and Time. Cambridge Scholars.
    A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art museums. (...)
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  3. Rudolf Arnheim (1948). The Holes of Henry Moore: On the Function of Space in Sculpture. Journal of Aesthetics and Art Criticism 7 (1):29-38.
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  4. Christopher Bartel (2010). Originality and Value. Hermenia:66-77.
    What does it mean to describe a work of art as being ‘original’? Frank Sibley believed that works of art are not valued for their originality independently of their aesthetic value. He argued that a work may be described as being ‘original’ if it is innovative and also exhibits some further aesthetic value. In this essay, I argue against this conjunctive account of originality as some kind of innovation-plus-value. I claim that a work may be valued for and described as (...)
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  5. David Chassange (ed.) (2008). Wine Active Compounds 2008: Proceedings of the WAC2008 International Conference. Oenapluria Media.
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  6. Robert R. Clewis (2008). Greenberg, Kant, and Aesthetic Judgments of Modernist Art. AE: Canadian Aesthetics Journal 18.
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  7. Rafael de Clercq, Aesthetic Properties.
    Paradigmatic aesthetic properties include beauty, elegance, gracefulness, harmony, balance, loveliness, prettiness, handsomeness, and unity, as well as their negative counterparts, for example, ugliness, clumsiness and disunity. The book investigates the nature, reality, and structure(s) of these properties. It also focuses on special cases such as rightness of architectural proportion, musical beauty, functional beauty, and the aesthetic properties that are responsible for our interest in ‘painful art’ (horror and tragedy). [Manuscript is currently undergoing revision.].
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  8. Rafael de Clercq (2011). Modern Architecture and the Concept of Harmony. British Journal of Aesthetics 51 (1):69-79.
    The aim of this paper is to achieve a better understanding of why modern buildings do not easily harmonize with one another. After proposing, and defending, an analysis of the concept of architectural harmony, the paper turns to three possible views on whether we can expect more harmony from modern architecture in the future.
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  9. Rafael De Clercq (2009). Scruton on Rightness of Proportion in Architecture. British Journal of Aesthetics 49 (4):405-414.
    In The Aesthetics of Architecture, Roger Scruton makes at least four claims about rightness of architectural proportion. The present paper lists those claims, briefly discusses the way they are related, and, finally, selects one as the topic of discussion: the claim that there cannot be an exact, mathematical definition of rightness of proportion. Scruton’s arguments for this claim are reviewed. The first is found to be substantially correct, whereas the second is found to rely on a mistaken assumption, namely the (...)
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  10. Rafael De Clercq (2008). The Structure of Aesthetic Properties. Philosophy Compass 3 (5):894-909.
    Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...)
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  11. Rafael De Clercq (2007). A Note on the Aesthetics of Mirror Reversal. Philosophical Studies 132 (3):553 - 563.
    According to Roy Sorensen [Philosophical Studies 100 (2000) 175–191] an object cannot differ aesthetically from its mirror image. On his view, mirror-reversing an object – changing its left/right orientation – cannot bring about any aesthetic change. However, in arguing for this thesis Sorensen assumes that aesthetic properties supervene on intrinsic properties alone. This is a highly controversial assumption and nothing is offered in its support. Moreover, a plausible weakening of the assumption does not improve the argument. Finally, Sorensen’s second argument (...)
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  12. Rafael De Clercq (2002). The Concept of an Aesthetic Property. Journal of Aesthetics and Art Criticism 60 (2):167–176.
    This paper provides an analysis of the concept of an aesthetic property in non-aesthetic terms.
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  13. Fabian Dorsch (2000). The Nature of Aesthetic Experiences. Dissertation, University College London
    This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...)
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  14. C. E. Emmer (2013). 9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch. In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Publishing 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
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  15. C. E. Emmer (2007). The Flower and the Breaking Wheel: Burkean Beauty and Political Kitsch. International Journal of the Arts in Society 2 (1):153-164.
    What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows for (...)
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  16. Carol S. Gould (2005). Glamour as an Aesthetic Property of Persons. Journal of Aesthetics and Art Criticism 63 (3):237–247.
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  17. James R. Hamilton (2009). Drama. In Higgins Davies (ed.), Blackwell Companion to Aesthetics.
    Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.
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  18. James R. Hamilton (2009). Pretense and Display Theories of Theatrical Performance. Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu (4):632-654.
    A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.
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  19. James R. Hamilton (2007). The Art of Theater. Wiley-Blackwell.
    Hamilton argues that theatrical performances have always been regarded as works produced for inspection and evaluation in their own right. The reason this has been obscured is the enormously successful text-based literary tradition in modern European theater. To show why this is as it should be, Hamilton shows how theater's spectators pick out, grasp, and assess performances without reference to the texts they employ, even within that successful literary tradition.
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  20. Christoph Jäger & Georg Meggle (eds.) (2005). Kunst Und Erkenntnis (Art and Knowledge). Mentis.
    Dient Kunst der Erkenntnis? Vermittelt sie Einsichten oder Wissen? Und wenn ja: auf welche Weise? Sind ästhetische Urteile wahr oder falsch? Beruht unsere Wertschätzung von Kunst auf ihren kognitiven Funktionen? Zu diesen Fragen, die zu den klassischen Themen der Kunstphilosophie gehören, beziehen zehn Philosophen aus dem deutschen Sprachraum in Originalbeiträgen Position. Der Band dokumentiert den gegenwärtigen Stand der Kontroversen zwischen kognitivistischen und nichtkognitivistischen Theorien der Kunst und der Kunstbewertung. Mit Beiträgen von Rüdiger Bittner, Sabine A. Döring, Christoph Jäger, Bernd Kleimann, (...)
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  21. Erman Kaplama (2010). Introduction to Cosmological Aesthetics: The Kantian Sublime and Nietzschean Dionysian. International Journal of the Humanities 8 (2):69-84.
    This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
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  22. Odin Kroeger, Günther Friesinger, Paul Lohberger & Eberhard Ortland (eds.) (2011). Geistiges Eigentum und Originalität: Zur Politik der Wissens- und Kulturproduktion. Turia + Kant.
    Mit der zunehmenden Bedeutung immaterieller Güter nimmt auch die Intensität der Konflikte um »Geistiges Eigentum« zu. Dabei fungiert der Mythos vom Original nach wie vor als Grundlage für Rechtsansprüche auf exklusive Verfügungsrechte. Wer ein Urheberrecht in Anspruch nehmen, eine Erfindung anmelden will, muss behaupten, die betreffenden Formen oder Verfahren seien das Ergebnis seiner originären kreativen Leistung. Aber was ist Originalität? Unter welchen Umständen wird sie wem zugerechnet? Dieser Band bietet Bestandsaufnahmen und Analysen der rechtlichen, politischen, ökonomischen und kulturellen Problemlage und (...)
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  23. António Lopes (2005). Musical Works and Performance Evaluation. Postgraduate Journal of Aesthetics 2 (2):76-86.
    This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features of (...)
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  24. Christy Mag Uidhir & Cameron Buckner (2014). A Portrait of the Artist as an Aesthetic Expert. In Gregory Currie, Matthew Kieran & Aaron Meskin (eds.), Aesthetics and the Sciences. Oxford University Press
    For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...)
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  25. John Marmysz (2003). Laughing at Nothing: Humor as a Response to Nihilism. SUNY Press.
    Disputing the common misconception that nihilism is wholly negative and necessarily damaging to the human spirit, John Marmysz offers a clear and complete definition to argue that it is compatible, and indeed preferably responded to, with an attitude of good humor. He carefully scrutinizes the phenomenon of nihilism as it appears in the works, lives, and actions of key figures in the history of philosophy, literature, politics, and theology, including Nietzsche, Heidegger, Camus, and Mishima. While suggesting that there ultimately is (...)
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  26. John Marmysz (2001). Humor, Sublimity and Incongruity. Consciousness, Literature and the Arts 2 (3).
    Humorous laughter is related to the sublime experience in that it involves the transformation of a potentially unpleasant perception into a pleasurable experience. However, whereas sublimity is associated with feelings of awe and respect, humorous laughter is associated with feelings of superiority and contempt. This difference is a result of the fact that sublimity is an affective response involving an individual’s perception of vulnerability while humorous laughter is a response involving perceived invulnerability.
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  27. Patrick Maynard (2009). Drawing, Painting, and Print-Making. In Robert Hopkins (ed.), A Companion to Aesthetics: The Blackwell Companion to Philosophy, 2d rev. ed. Wiley-Blackwell
    A short encyclopedia article focused on drawing, stressing facture, the physicality of three media.
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  28. Patrick Maynard (1997). The Engine of Visualization: Thinking Through Photography. Cornell University Press.
    First ever philosophy treatise on photography, analytic in approach but sensitive to photo-history, not confined to aesthetics or art (illus.), Walker Evans photo on cover. Papercover printing, Dec. 2000.
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  29. Brian Rosebury (2000). The Historical Contingency of Aesthetic Experience. British Journal of Aesthetics 40 (1):73-88.
    The paper seeks to defend the following view. Aesthetic experience is historically contingent. Each of us is situated at a unique point in space and time, from which standpoint we continuously imagine our personal, and our collective, history. Our experience of any object of aesthetic intention is susceptible of being influenced by associations, that is by our locating the contemplated object in relation to some part or parts of this imagined history. We should not be embarrassed by the role that (...)
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  30. John T. Sanders, Cuteness as a Product of Natural Selection.
    This is a more detailed version of my "On 'Cuteness'", which appeared in the British Journal of Aesthetics in April 1992. For John Morreall, cuteness is an abstract general attribute of infants that causes adults to want to care for them (or which is the reason, or at least important reason, for such solicitousness). I shall try to show, in what follows, that this is, if not an altogether fallacious way of explaining the matter, at least an extremely misleading one. (...)
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  31. Martina Sauer (2016). Abstrakt - Affektiv - Multimodal. Zur Verarbeitung von Bewegtbildern im Anschluss an Cassirer, Langer und Krois. In Grabbe Lars Christian & Rupert-Kruse Patrick (eds.), Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment. Büchner Verlag 46-71.
    Der alltägliche Medienkonsum lässt keinen Zweifel, das Wahrnehmen von bewegten Bildern unterschiedlicher Medien ist von einem unmittelbaren Erleben und Verstehen geprägt. Entsprechende Forschungen in diesem Feld eröffneten, dass die auf uns einstürmenden Reizmuster nicht nur mental, sondern auch körperlich verarbeitet werden. Mit der nachfolgenden Untersuchung soll darauf aufbauend die These vertreten werden, dass die einströmenden Reize nicht allein visuell, sondern multimodal, mit allen Sinnen und darüber hinaus affektiv verarbeitet werden. Die klassische Bindung eines Sinnesorgans an ein Medium, auf deren Abgrenzung (...)
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  32. Lars Spuybroek (2011). The Digital Nature of Gothic. In L. Spuybroek (ed.), Research & Design: Textile Tectonics. 8-41.
    The first chapter of The Sympathy of Things published in Research & Design: Textile Tectonics (2011). It develops the notion of a “gothic ontology” which inverts Deleuze’s baroque ontology of the fold. Where in the universe of the fold continuity precedes singularity, in the gothic singularity precedes continuity. The reversal is based on the Ruskinian notion of the rib, which is the source of “changefulness”, expressed through “millions of variations” of figures. Figures move and change only to interact with or (...)
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  33. Kendall Walton (1979/2008). Style and the Processes of Art. In Wa & Kendall tpm (eds.), The Concept of Style. Oxford University Press 220--248.
  34. John Zeimbekis (forthcoming). Beauty (English Version). In J. Deonna E. Tieffenbach (ed.), Petit dictionnaire des valeurs. Editions de l'Ithaque
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  35. John Zeimbekis (2003). Propriétés Esthétiques Et Évaluation. Revue Francophone D'Esthétique (1):25-47.
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