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  1. Zoe Alderton (2011). The Limits of Taste: Politics, Aesthetics, and Christ in Contemporary Australia. Literature & Aesthetics 21 (2):65-93.
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  2. Archibald Alison, Hurst Brown Longman, George Ramsay and Company & Archibald Constable & Co (1812). Essays on the Nature and Principles of Taste. Printed by George Ramsay & Company, for Archibald Constable and Company, Edinburgh; and Longman, Hurst, Rees, Orme and Brown, London.
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  3. David B. Allison (2005). Nietzsche's Aesthetic Taste for Moral Metacritique. Symposium: The Canadian Journal of Continental Philosophy 9 (2):153-167.
  4. Carl Baker (2012). Indexical Contextualism and the Challenges From Disagreement. Philosophical Studies 157 (1):107-123.
    In this paper I argue against one variety of contextualism about aesthetic predicates such as “beautiful.” Contextualist analyses of these and other predicates have been subject to several challenges surrounding disagreement. Focusing on one kind of contextualism— individualized indexical contextualism —I unpack these various challenges and consider the responses available to the contextualist. The three responses I consider are as follows: giving an alternative analysis of the concept of disagreement; claiming that speakers suffer from semantic blindness; and claiming that attributions (...)
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  5. John W. Bender (1997). On Shiner's "Hume and the Causal Theory of Taste". Journal of Aesthetics and Art Criticism 55 (3):317-320.
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  6. John Blewitt (1993). Film, Ideology and Bourdieu's Critique of Public Taste. British Journal of Aesthetics 33 (4):367-372.
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  7. Odd Brochmann (1955). Good and Bad Taste. Eyre & Spottiswoode.
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  8. Frank Burch Brown (2000). Good Taste, Bad Taste, and Christian Taste Aesthetics in Religious Life. Monograph Collection (Matt - Pseudo).
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  9. Teddy Brunius (1969). Theory and Taste. Four Studies in Aesthetics. Universitetet Almqvist & Wiksell (Distr.).
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  10. Noel Carroll (1984). Hume's Standard of Taste. Journal of Aesthetics and Art Criticism 43 (2):181-194.
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  11. Rosalia Cavalieri (2011). Gusto: L'Intelligenza Del Palato. Laterza.
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  12. Marcia Cavell (1975). Taste and the Moral Sense. Journal of Aesthetics and Art Criticism 34 (1):29-33.
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  13. Frank P. Chambers (1963). The History of Art and the History of Taste. British Journal of Aesthetics 3 (3):234-236.
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  14. Frank Pentland Chambers (1928). Cycles of Taste an Unacknowledged Problem in Ancient Art and Criticism. Harvard University Press.
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  15. Ted Cohen (2004). The Philosophy of Taste : Thoughts on the Idea. In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell Pub. 171.
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  16. John Gilbert Cooper, John Armstrong & Ralph Cohen (1951). Essays on Taste From Letters Concerning Taste, Third Edition. William Andrews Clark Memorial Library, University of California.
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  17. C. F. Cornford (1968). The Question of Bad Taste. British Journal of Aesthetics 8 (3):215-226.
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  18. Timothy M. Costelloe (2007). Aesthetics and Morals in the Philosophy of David Hume. Routledge.
    General rules and "of the standard of taste" -- Aesthetic beauty and moral beauty -- Antinomy and error -- Reflection and character -- Beauty and moral life -- Progress and prejudice -- Philosophy and moral life.
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  19. Daniel Cottom (1981). Taste and the Civilized Imagination. Journal of Aesthetics and Art Criticism 39 (4):367-380.
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  20. Lucy Crane (1882). Art and the Formation of Taste Six Lectures. Macmillan and Co.
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  21. Arthur Coleman Danto (1998). The Wake of Art: Essays: Criticism, Philosophy and the Ends of Taste. G+B Arts Int'l.
    Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements in (...)
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  22. Fermin de Urmeneta (1953). Reflections on the Concepts of Taste and Art. Journal of Aesthetics and Art Criticism 12 (2):197-204.
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  23. Galvano Della Volpe (1991). Critique of Taste. Verso.
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  24. George Dickie (2003). James Shelley on Critical Principles. British Journal of Aesthetics 43 (1):57-64.
    James Shelley claims that Hume's principles of taste have value-neutral subjects rather than value-laden ones that, for example, refer to aesthetic properties. I try to rebut his claim. I argue that Hume's essay on taste contains the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties in artworks, even if he does not explicitly make this point. I also deny Shelley's contention that I claim that principles are used as part of a temporal process (...)
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  25. George Dickie (1996). The Century of Taste: The Philosophical Odyssey of Taste in the Eighteenth Century. Oxford University Press.
    The Century of Taste offers an exposition and critical account of the central figures in the early development of the modern philosophy of art. Dickie traces the modern theory of taste from its first formulation by Francis Hutcheson, to blind alleys followed by Alexander Gerard and Archibald Allison, its refinement and complete expression by Hume, and finally to its decline in the hands of Kant. In a clear and straightforward style, Dickie offers sympathetic discussions of the theoretical aims of these (...)
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  26. George Dickie (1989). Kant, Mothersill and Principles of Taste. Journal of Aesthetics and Art Criticism 47 (4):375-376.
  27. George Dickie (1984). Stolnitz's Attitude: Taste and Perception. Journal of Aesthetics and Art Criticism 43 (2):195-203.
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  28. George Dickie (1973). Taste and Attitude: The Origin of the Aesthetic. Theoria 39 (1-3):153-170.
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  29. Andreas Dorschel (2011). Individualism for the Masses: Aesthetic Paradox in Mahler’s Symphonic Thought. In Elisabeth Kappel (ed.), The Total Work of Art: Mahler’s Eighth Symphony in Context. Universal Edition 46-60.
    In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...)
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  30. Mary Douglas (1996). Thought Styles: Critical Essays on Good Taste. Sage Publications.
    We know we have thoughts, but are we aware that we have styles of thought? This book, written by one of the most gifted and celebrated social thinkers of our time, is a contribution to understanding the rules of the different styles of thinking. Author Mary Douglas takes us through a range of thought styles from the vulgar to the refined. Throughout this fascinating journey, Thought Styles shows us how the different styles work and how outsiders can learn the styles (...)
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  31. Umberto Eco & Alastair McEwen (eds.) (2005). History of Beauty. Rizzoli.
    What is beauty? What is art? What is taste and fashion? Is beauty something to be observed coolly and rationally or is it something dangerously involving? So begins Umberto Eco's intriguing journey into the aesthetics of beauty, in which he explores the ever-changing concept of the beautiful from the ancient Greeks to today. While closely examining the development of the visual arts and drawing on works of literature from each era, Eco broadens his enquiries to consider a range of concepts, (...)
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  32. Hans J. Eysenck (1988). Good Taste and Bad Taste-Objectivity in Aesthetics. In Frank H. Farley & Ronald W. Neperud (eds.), The Foundations of Aesthetics, Art & Art Education. Praeger 117.
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  33. Hans Jürgen Eysenck (1971). Factors Determining Aesthetic Preferences for Geometrical Designs and Devices. British Journal of Aesthetics 11 (2):154-166.
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  34. Christopher Browne Garnett (1968). Taste. New York, Exposition Press.
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  35. Alexander Gerard (1963). An Essay on Taste Together with Observations Concerning the Imitative Nature of Poetry. Monograph Collection (Matt - Pseudo).
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  36. Thomas B. Gilmore (1972). Early Eighteenth-Century Essays on Taste.
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  37. Alan H. Goldman (1990). The Education of Taste. British Journal of Aesthetics 30 (2):105-116.
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  38. E. H. Gombrich (2002). The Preference for the Primitive Episodes in the History of Western Taste and Art.
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  39. Theodore Gracyk (2011). Delicacy in Hume's Theory of Taste. Journal of Scottish Philosophy 9 (1):1-16.
    David Hume's celebrated essay ‘‘Of the Standard of Taste’’ is the central text for understanding Hume's aesthetic theory, yet an important claim in that essay has received inadequate attention in the literature. Although it is understood that Hume stresses the importance of delicacy of taste, it is less well understood that this delicacy is a delicacy of imagination, which is distinct from a delicacy of perception. Using both the essay and other texts to elucidate this thesis, it appears that Hume's (...)
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  40. Theodore A. Gracyk (1994). Rethinking Hume's Standard of Taste. Journal of Aesthetics and Art Criticism 52 (2):169-182.
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  41. Theodore A. Gracyk (1990). Having Bad Taste. British Journal of Aesthetics 30 (2):117-131.
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  42. Giampaolo Gravina (2012). A Matter of Taste. The Semi-Serious Musings of a Wine Taster on the Contentious Prospects of Professional Tasting. Rivista di Estetica 52 (51):149-154.
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  43. Clement Greenberg (1999). Homemade Esthetics: Observations on Art and Taste. Oxford University Press.
    Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most (...)
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  44. Jukka Gronow (1997). The Sociology of Taste.
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  45. Richard Gump (1970). Good Taste Costs No More. Macmillan.
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  46. Paul Guyer (2008). Humean Critics, Imaginative Fluency, and Emotional Responsiveness: A Follow-Up to Stephanie Ross. British Journal of Aesthetics 48 (4):445-456.
    In ‘Humean Critics: Real or Ideal?’ (BJA 48 (2008): 20-28), Stephanie Ross argues that four of Hume's five criteria for qualified critics in “Of the Standard of Taste’, namely practise, comparison, freedom from prejudice, and good sense, should be understood as conditions for improving the basic constituent of taste, namely delicacy of perception, in real critics whose judgments can be canonical or guiding for the rest of us, but that delicacy of perception needs to be supplemented by what she calls (...)
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  47. G. L. Hagberg (1999). Reflections on George Dickie's The'Century of Taste, the Philosophial Odyssey of Taste in the Eighteenth Century'. Journal of Aesthetic Education 33 (3):93-100.
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  48. Shannon Lee Hartling (2003). Horrid Spectacles: Polite Taste and Impolite Depictions in the Eighteenth-Century Novel. Dissertation, University of Waterloo (Canada)
    Norbert Elias has described "an advance of the threshold of embarrassment and shame" regarding depictions of bodily function in the eighteenth century, interpreted as "'refinement,' or as 'civilization'" . This dissertation explores the development of a polite taste which includes scenes of death in the category of embarrassing, unrefined, and excisable material in eighteenth-century novels, leaving fictional deaths to either occur discreetly offstage or to remain clearly described but charged with vulgarity and excess, in many cases becoming a challenge to (...)
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  49. Thomas Hastings (1822/1974). Dissertation on Musical Taste. New York,Da Capo Press.
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  50. A. Hennion (2001). Music Lovers: Taste as Performance. Theory, Culture and Society 18 (5):1-22.
    This article presents the implications, objectives and initial results of a current ethnographic research project on music lovers. It looks at problems of theory and method posed by such research if it is not conceived only as the explanation of external determinisms, relating taste to the social origins of the amateur or to the aesthetic properties of the works. Our aim is, on the contrary, from long interviews and observations undertaken with music lovers, mostly in the classical field, to concentrate (...)
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