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  1. H. G. Alexander (1955). Subjectivity in Aesthetics. Philosophical Quarterly 5 (21):329-341.
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  2. Andrew Bowie (2003). Aesthetics and Subjectivity: From Kant to Nietzsche. Manchester University Press.
    This new, completely revised and re-written edition of Aesthetics and subjectivity brings up to date the original book's account of the path of German philosophy from Kant, via Fichte and Holderlin, the early Romantis, Schelling, Hegel, Schleimacher, to Nietzsche, in view of recent historical research and contemporary arguments in philosophy and theory in the humanities.
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  3. 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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  4. David E. W. Fenner (2010). Context Building and Educating Imaginative Engagement. Journal of Aesthetic Education 44 (3):109-123.
    In my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic reward depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context (...)
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  5. Denis Grey (1951). Subjectivity and the Aesthetic Use of Symbols (I). Australasian Journal of Philosophy 29 (2):98 – 108.
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  6. Denis Grey (1951). Subjectivity and the Aesthetic Use of Symbols (II). Australasian Journal of Philosophy 29 (3):164 – 174.
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  7. Allen Hance (1998). The Art of Nature: Hegel and the Critique of Judgment. International Journal of Philosophical Studies 6 (1):37 – 65.
    This essay examines the reasons for Hegel's frequently professed claim that Kant's Critique of Judgment simultaneously reveals the internal limits of critical philosophy and opens the door to his own system of speculative idealism. It evaluates Hegel's contention that the conceptions of aesthetic experience, organic purposiveness, and the intuitive intellect developed in the third Critique together conspire to undermine the epistemological and metaphysical foundations of the theories of nature and freedom advanced in the first and second Critiques . Finally it (...)
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  8. Joanna Hodge (2009). Topography of the Border: Derrida Rewriting Transcendental Aesthetics. In Dominiek Hoens, Sigi Jottkandt & Gert Buelens (eds.), The Catastrophic Imperative: Subjectivity, Time and Memory in Contemporary Thought. Palgrave Macmillan.
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  9. John Hyman (2003). Subjectivism in the Theory of Pictorial Art. The Monist 86 (4):676 - 701.
    1. A new wave of subjectivism in the theory of pictorial art began around forty years ago; and since then it has gathered pace in tandem with changing fashions in the philosophy of mind. The initial impetus was provided by the publication of Ernst Gombrich’s 1956 Mellon Lectures, Art and Illusion.1 In this book, and in many subsequent articles and lectures which elaborate its theme, Gombrich argues that the development of Western art – essentially the art of ancient Greece and (...)
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  10. John Hymen (2003). Subjectivism in the Theory of Pictorial Art. The Monist 86 (4):676-701.
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  11. Ts'ai I. (1975). Why is Chu Kuang-Ch'ien's Aesthetic Thought Subjective Idealism? Contemporary Chinese Thought 6 (3):62-118.
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  12. Abraham Mansbach (2002). Beyond Subjectivism: Heidegger on Language and the Human Being. Greenwood Press.
    Machine generated contents note: 1 The Problem of Subjectivism -- 2 The Self: Dispersion and Constancy -- 3 Decentering the Subject: Works of Art as Heroes -- 4 Practice, Language, and Poetry -- 5 Language: The Transcendental Path -- 6 Language as a Web -- 7 The Human Being as Speaker and Mortal -- 8 Being Human in the Age of Technology.
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  13. Michael J. Matthis (ed.) (2010). The Beautiful, the Sublime the Grotesque: The Subjective Turn in Aesthetics From the Enlightenment to the Present. Cambridge Scholars Pub..
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  14. Zahra Newby (2008). Roman Viewing (J.) Elsner Roman Eyes. Visuality and Subjectivity in Art and Text. Pp. Xviii + 350, Ills, Colour Pls. Princeton and Oxford: Princeton University Press, 2007. Cased, £32.50, US$49.50. ISBN: 978-0-691-09677-. [REVIEW] The Classical Review 58 (02):420-.
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  15. John Protevi, Deleuze, Jonas, and Thompson Toward a New Transcendental Aesthetic and a New Question of Panpsychism.
    Both Deleuze in DR and Thompson / Jonas can be fairly said to be biological panpsychists. That‘s pretty much what ―Mind in Life‖ means: mind and life are co-extensive: life = autopoiesis and cognition = sense-making. Thus Mind in Life = autopoietic sense-making = control of action of organism in environment. Sense-making here is three-fold: 1) sensibility as openness to environment; 2) signification as positive or negative valence of environmental features relative to the subjective norms of the organism; 3) direction (...)
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  16. Eric M. Rubenstein, Color. Internet Encyclopedia of Philosophy.
    Philosophy has long struggled to understand the nature of color. The central role color plays in our lives, in visual experience, in art, as a metaphor for emotions, has made it an obvious candidate for philosophical reflection. Understanding the nature of color, however, has proved a daunting task, despite the numerous fields that contribute to the project. Even knowing how to start can be difficult. Is color to be understood as an objective part of reality, a property of objects with (...)
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  17. Fred Rush (2007). Art, Aesthetics and Subjectivity. European Journal of Philosophy 15 (2):283–296.
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  18. Paul C. Santilli (2006). Cinema and Subjectivity in Krzysztof Kieslowski. Journal of Aesthetics and Art Criticism 64 (1):147–156.
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  19. Elisabeth Schellekens (2004). Review: Aesthetics and Subjectivity: From Kant to Nietzsche, 2nd Edn. [REVIEW] British Journal of Aesthetics 44 (3):304-307.
  20. Guy Sircello (1968). Subjectivity and Justification in Aesthetic Judgments. Journal of Aesthetics and Art Criticism 27 (1):3-12.
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  21. Peter Graham Thielke (2010). Who's Who From Kant to Hegel II: Art and the Absolute. Philosophy Compass 5 (5):398-411.
    Kant's 'Copernican Revolution', which began in the Critique of Pure Reason (1781/1787), had, by the early 1790s, fundamentally altered the terrain of German philosophy – but not entirely in the way that Kant had foreseen. Skeptical challenges to Kant's discursive account of cognition, in which experience arises from the separate faculties of sensibility and understanding, had led thinkers such as K.L. Reinhold and J.G. Fichte to attempt to provide a first, foundational principle for the critical philosophy. These efforts were enormously (...)
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  22. Bart Vandenabeele (2008). The Subjective Universality of Aesthetic Judgements Revisited. British Journal of Aesthetics 48 (4):410-425.
    When we are touched by the beauty of something, we cannot help judging that the experienced feeling of pleasure ought to be shared by others. In Kantian terms, a pure judgement of taste requires or demands everyone else's assent. I examine some of the major intricacies of Kant's account and aim to correct some distorted views of it. I argue that the autonomy (or ‘heautonomy’) of the judgement of taste is not presupposed but made possible by the modal requirement as (...)
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