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  1. Adil Mustafa Ahmad (1994). The Erotic and the Pornographic in Arab Culture. British Journal of Aesthetics 34 (3):278-284.
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  2. Lauren R. Alpert (2016). Review Of: "Strange Tools: Art and Human Nature" by Alva Noe. [REVIEW] Asage 8 (1):1-3.
    Strange Tools foregoes stolid conventions of professional philosophy, laudably broadening the book’s appeal to accommodate a popular audience. However, Noë’s manner of glossing over complex issues about art does not necessarily render these topics intelligible to philosophical novices. Instead, his oversimplifications will tend to confirm naïve notions that art is straightforward – a common misconception that a foray into philosophy of art ought to dispel, not corroborate.
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  3. Nora M. Alter & Lutz P. Koepnick (eds.) (2004). Sound Matters: Essays on the Acoustics of Modern German Culture. Berghahn Books.
    ... composed by Herms Niel as a Durchhaltefanfare, a fanfare of perseverance, for the German troops that had been surrounded on the Crimea peninsula by ...
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  4. Meter Amevans (1965). Aesthetics in Recent Japanese Novels. Journal of Aesthetics and Art Criticism 24 (1):27-36.
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  5. Meter Amevans (1960). Aesthetic Values in the East and West. Journal of Aesthetics and Art Criticism 19 (1):3-16.
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  6. Douglas R. Anderson (1987). Creativity and the Philosophy of C.S. Peirce. Distributors for the U.S. And Canada, Kluwer Academic Publishers.
    Chapter INTRODUCTION Charles Sanders Peirce is quickly becoming the dominant figure in the history of American philosophy. The breadth and depth of his work ...
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  7. Sondra Bacharach (2015). Street Art and Consent. British Journal of Aesthetics 55 (4):481-495.
    Street art has exploded: it pervades our back alleys, surrounds us at bus-stops, covers billboards, competes with advertising and generally serves as urban wallpaper in most cities. But what is street art? A far cry from mere graffiti, street art has gained some social acceptance, but it remains neither officially sanctioned like public art, nor institutionally condoned, like its more traditional artistic cousins in museums. Somewhere in between these two extremes, street art has emerged, occupying a metaphysically suspect grey area (...)
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  8. Archie J. Bahm (1957). Buddhist Aesthetics. Journal of Aesthetics and Art Criticism 16 (2):249-252.
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  9. Vahan D. Barooshian (1975). The Aesthetics of the Russian Revolutionary Theatre 1917–21. British Journal of Aesthetics 15 (2):99-117.
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  10. Lorenzo Bartalesi & Mariagrazia Portera (2015). Beyond the Nature-Culture Dichotomy: A Proposal for Evolutionary Aesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):101-111.
    Human aesthetic preferences towards a certain landscape type, a certain bodily traits of the opposite sex, a figurative style rather than another, are embedded in what we call “aesthetic experience”, a complex network of instinctive reactions, emotions, feelings, thoughts, and judgements. Are these preferences universal and species-specific, that is to say are they the same for every member of a particular species? Evolutionary psychologists advocate the universality and species-specificity of the aesthetic preferences. Going back to Darwin's writings, in particular to (...)
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  11. Christopher Bartel (2004). Is Art Good for Us? Beliefs About High Culture in American Life. British Journal of Aesthetics 44 (1):93-96.
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  12. Paolo Bartoloni (2013). The Aesthetics of Renunciation, and the Irregularities of the 20th Century. Cultura 10 (2):71-92.
    In the essay “Das Wort” , Martin Heidegger wrote about “renunciation” in the context of the poetry of Stefan George. According toHeidegger the entrance into the possibility of Saying, with the capital “S” – as opposed to the chatter of every-day life – could be achieved in the instance of the poet’s deliberate acceptance of renunciation. Heidegger’s writings, including “Words,” have had an enormous influence in the second part of the 20th century on authors and thinkers alike. And yet this (...)
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  13. Steffen Borge (2015). An Agon Aesthetics of Football. Sport, Ethics and Philosophy 9 (2):97-123.
    In this article, I first address the ethical considerations about football and show that a meritocratic-fairness view of sports fails to capture the phenomenon of football. Fairness of result is not at centre stage in football. Football is about the drama, about the tension and the emotions it provokes. This moves us to the realm of aesthetics. I reject the idea of the aesthetics of football as the disinterested aesthetic appreciation, which traditionally has been deemed central to aesthetics. Instead, I (...)
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  14. Steffen Borge, Murray Smith & Margrethe Bruun Vaage (2015). The Aesthetics of Football. Sport, Ethics and Philosophy 9 (2):93-96.
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  15. A. Boutel & T. Lewens (2014). The Descent of Culture. British Journal of Aesthetics 54 (4):489-492.
    Stephen Davies’ book shows admirable sensitivity to the complexities of aesthetic appreciation, the making of art, and evolutionary explanation. Our critical comments focus on his understanding of how the natural and the cultural are to be distinguished. We suggest that recent work on the evolution of cognition undermines any strict distinction between that which is learned, and therefore within the domain of culture or technology, and that which is part of human nature, and therefore within the domain of evolution. These (...)
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  16. Brian E. Butler (2003). Aesthetics and American Law. Legal Studies Forum (1):203-220.
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  17. Brian E. Butler (2003). Law as an Aesthetic Subject. ASA Newsletter 22 (3):1-3.
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  18. S. Davies (2014). Replies to My Critics. British Journal of Aesthetics 54 (4):493-498.
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  19. S. Davies (2014). Synopsis. British Journal of Aesthetics 54 (4):467-469.
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  20. Stephen Davies (2015). How Ancient is Art? Evental Aesthetics 4 (2):22-45.
    In this paper I suggest that music and dance of an artful kind could pre-date the emergence of our species by several hundred thousand years. Our progenitor, H. heidelbergensis, had the necessary physiological resources and social capacities. And she inherited older modes of moving and vocalizing that could have laid the foundations for dance and music. Admittedly, for her, these artistic activities would have been more about sharing and expressing emotions than about symbolizing abstract ideas or conveying complex thoughts. But (...)
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  21. Rolando Gripaldo (2009). Filipino Philosophy: A Western Tradition in an Eastern Setting. In Rolando M. Gripaldo (ed.), The Making of a Filipino Philosopher and Other Essays. National Book Store
    In tracing historically the development of Filipino philosophy as traditionally conceived, the author discovered that the early Filipino philosophers were Enlightenment thinkers. This was the direct consequence of the Filipino colonial experience and the explanation why the trajectory of Filipino philosophy is basically Western in orientation.
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  22. Andy Hamilton (2016). The Artful Species: Aesthetics, Art and Evolution By Stephen Davies. Analysis 76 (1):115-117.
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  23. Juan Ignacio Hernáiz Blazquez (1984). La Deshumanización Del Arte En Ortega / The Dehumanization of Art in Ortega. Naturaleza y Gracia: Revista Cuatrimestral de Ciencias Eclesiásticas 2:313-319.
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  24. Horace Meyer Kallen (1943). The Arts and Thomas Jefferson. Ethics 53 (4):269-283.
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  25. R. Menary (2014). The Aesthetic Niche. British Journal of Aesthetics 54 (4):471-475.
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  26. Trevor Mowchun (2015). A Machine’s First Glimpse in Time and Space. Evental Aesthetics 4 (2):77-102.
    The primary objective of this two-part essay is to theorize the relationships between religious disenchantment, the autonomy of art, and the phenomenon of contingency. These connections are held to be vital for an understanding of modern aesthetics in general, and the possibility is put forth that they come to a head in the most modern of all the arts: cinema. In the first part, an account of the contemporary rift between the immanence of art and the transcendence of the divine (...)
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  27. A. Noe (2014). Running Up Against Nature's Limits? British Journal of Aesthetics 54 (4):483-487.
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  28. José Ortega Y. Gasset (1968). The Dehumanization of Art, and Other Essays on Art, Culture, and Literature (Second Expanded Edition). Princeton University Press.
    The first edition was published in 1948 under the title "The Dehumanization of Art, and Notes on the Novel", translated by Helene Weyl from the Spanish original, "La Deshumanizacion del arte e Ideas sobre la novela," published by Revista de Occidente, 1925. In addition to the two title essays, "The Dehumanization of Art" and "Notes on the Novel," this second expanded edition contains three other essays: "In Search of Goethe from Within" (Goethe desde dentro, 1932); "On Point of View in (...)
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  29. Jeffrey Petts (2016). The Cultural Promise of The Aesthetic by Monique Roelofs. Journal of Aesthetic Education 50 (2):119-123.
    The central claim of Monique Roelofs’s wide-ranging examination of the aesthetic is that it “hold[s] out the promise of a shared culture... people and objects [connected] in flourishing collective and material bonds”. Roelofs acknowledges Kant’s and Hume’s commitment to shared human faculties that allow judgements of taste “to attain intersubjective validity”; but her argument quickly develops from this “promise” to one with social and political consequences—of a harmonious and egalitarian society—and to radically different theoretical formulations and conclusions. Roelofs then also (...)
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  30. Gabriel Rockhill (2014). Radical History and the Politics of Art. Columbia University Press.
    The primary objective of this book is to open space for rethinking the relationship between art and politics. It seeks to combat one of the fundamental assumptions that has plagued many of the previous debates on this issue: that art and politics are distinct entities definable in terms of common properties, and that they have privileged points of intersection, which can be determined once and for all in terms of an established formula. This common sense assumption is rooted in a (...)
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  31. Jonathan Salem-Wiseman (2012). Heidegger, Art, and Postmodernity by Thomson, Iain D. Journal of Aesthetics and Art Criticism 70 (3):321-323.
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  32. Martina Sauer (2016). Kunst Und Handlung. Ästhetische Und Handlungstheoretische Perspektiven, Hg. Von Daniel M. Feige, Judith Siegmund. [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
  33. Martina Sauer (2016). Daniel M. Feige, Judith Siegmund (Eds.), Kunst und Handlung. Ästhetische und handlungstheoretische Perspektiven. [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
  34. Martina Sauer (2016). . [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
  35. Martina Sauer (2016). . [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
  36. Martina Sauer (2016). . [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
  37. Martina Sauer (2016). . [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
  38. Christopher Stevens (2009). Embracing Scruton's Cultural Conservatism. British Journal of Aesthetics 49 (4):371-388.
    Despite commitments to claims about the welfare-enhancing superiority of art-interested ways of life implicit in much of their work, aestheticians have shown little interest in explicitly bringing their discipline to bear on issues at the intersection of ethics, aesthetics, and politics. Roger Scruton’s work on culture bucks that trend, but few have contributed to the discussion he initiated. After an extended treatment of one of many possible examples showing that aesthetics-related matters can and do bear significantly on social and political (...)
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  39. James Trafford, Robin Mackay & Luke Pendrell (eds.) (2014). Speculative Aesthetics. Urbanomic.
    Documenting a roundtable on the ramifications of Speculative Realism for aesthetics, this discussion ranges from contemporary art's relation to the aesthetic, to accelerationism and abstraction, logic and design.
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  40. Chrysanthos Voutounos & Andreas Lanitis (forthcoming). A Cultural Semiotic Aesthetic Approach for a Virtual Heritage Project in Advance. Techné: Research in Philosophy and Technology.
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  41. Fred Wilson (1989). Is Hume a Sceptic with Regard to the Senses? Journal of the History of Philosophy 27 (1):49-73.
  42. Michael Joseph Winkler (2015). New Discoveries Should Reopen the Discussion of Signs. Alternative Theoretics 2015:12.
    Some recent scientific discoveries regarding the signs of language, which impact my own ongoing project as a visual/conceptual artist, also dramatically impact the Saussurian foundation of the prevalent cultural theories which underlie the curatorial priorities of many major art institutions.
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  43. Richard Wollheim (1955). Art and Marxism. Encounter 5 (5):68--71.
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  44. Gabriel Zoran (2016). Between Appropriation and Representation: Aristotle and the Concept of Imitation in Greek Thought. Philosophy and Literature 39 (2):468-486.
    Let us imagine an actor on stage presenting an impersonation of a certain politician, his manners and his body language. Now, suppose another actor sitting in the audience, impressed by the show and deciding to adopt something of his colleague’s style. He rents another stage and presents an impersonation of the same politician according to what he has learned. What does he actually do? In a certain sense he “imitates” the politician, but in another sense he “imitates” the first actor, (...)
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Aesthetic Universals
  1. Derek Allan, Analytic Aesthetics and the Dilemma of Timelessness.
    Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.
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  2. Denis Dutton (2001). Aesthetic Universals. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge 203--214.
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  3. Gene Fendt (1997). The Others In/Of Aristotle's Poetics. Journal of Philosophical Research 22:245-260.
    This paper aims at interpreting (primarily) the first six chapters of Aristotle’s Poetics in a way that dissolves many of the scholarly arguments conceming them. It shows that Aristotle frequently identifies the object of his inquiry by opposing it to what is other than it (in several different ways). As a result aporiai arise where there is only supposed to be illuminating exclusion of one sort or another. Two exemplary cases of this in chapters 1-6 are Aristotle’s account of mimesis (...)
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  4. Mohan Matthen (2015). Play, Skill, and the Origins of Perceptual Art. British Journal of Aesthetics 55 (2):173-197.
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...)
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  5. Tadashi Ogawa & Barry Smith (1995). Editorial Preface. The Monist 78 (1):3-4.
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  6. Martina Sauer (2015). Visualität Und Geschichte. Bilder Als Historische Akteure Im Anschluss an Verköperungstheorien. In Grüne Niels & Oberhauser Claus (eds.), Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation, Göttingen 2015. V&R Unipress 39-60.
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