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  1. G. Anthony Bruno (2009). Aesthetic Value, Intersubjectivity and the Absolute Conception of the World. Postgraduate Journal of Aesthetics 6 (3).
    In the Critique of the Power of Judgment, Kant diagnoses an antinomy of taste: either determinate concepts exhaust judgments of taste or they do not. That is to say, judgments of taste are either objective and public or subjective and private. On the objectivity thesis, aesthetic value is predicable of objects. But determining the concepts that would make a judgment of taste objective is a vexing matter. Who can say which concepts these would be? To what authority does one appeal? (...)
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  2. Florian Cova & Nicolas Pain (2012). Can Folk Aesthetics Ground Aesthetic Realism? The Monist 95 (2):241-263.
    We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having shown (...)
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  3. E. Marcia Muelder (1998). Intention, Supervenience, and Aesthetic Realism. British Journal of Aesthetics 38 (3):279-293.
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  4. Rafe McGregor (2010). Hutcheson's Idea of Beauty and the Doomsday Scenario. Postgraduate Journal of Aesthetics 7 (1):13-23.
    Francis Hutcheson is generally accepted as producing the first systematic study of aesthetics, in the first treatise of An Inquiry into the Original of Our Ideas of Beauty and Virtue, initially published in 1725. His theory reflected the eighteenth century concern with beauty rather than art, and has drawn accusations of vagueness since the first critical response, by Charles Louis DeVillete in 1750. The most serious critique concerns the idea of beauty itself: whether it was simple or complex, and the (...)
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  5. Roger Pouivet (2005). Thomas Reid's Aesthetic Realism. Journal of Scottish Philosophy 3 (1):35-45.
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  6. Mark Sainsbury (2012). 'Of Course There Are Fictional Characters'. Revue Internationale de Philosophie 4:615-40.
    There is no straightforward inference from there being fictional characters to any interesting form of realism. One reason is that “fictional” may be an intensional operator with wide scope, depriving the quantifier of its usual force. Another is that not all uses of “there are” are ontologically committing. A realist needs to show that neither of these phenomena are present in “There are fictional characters”. Other roads to realism run into difficulties when negotiating the role that presupposition plays when we (...)
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  7. Ian F. Verstegen (2006). A Critical Realist Perspective on Aesthetic Value. Journal of Critical Realism 5 (2):323-343.
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