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  1. Peter Abbs (1991). From Babble to Rhapsody: On the Nature of Creativity. British Journal of Aesthetics 31 (4):291-300.
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  2. Jiri Benovsky (2012). Aesthetic Supervenience Vs. Aesthetic Grounding. Estetika 49 (2):166–178.
    The claim that the having of aesthetic properties supervenes on the having of non-aesthetic properties has been widely discussed and, in various ways, defended. In this paper, I will show that even if it is sometimes true that a supervenience relation holds between aesthetic properties and the 'subvenient' non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric and irreflexive relation is required, and I shall defend the claim that the more-and-more-popular relation (...)
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  3. Joanna Frueh (2003). Vaginal Aesthetics. Hypatia 18 (4):137-158.
    : Based on the premise that ugliness looms large in both cultural and women's consciousness of vaginas, I create a representation of the vagina's beauty as rich and sweet. Smell, taste, and touch play predominant roles as I use scholarly analysis and my own autobiographical narratives and poems and poetic language in order to redress the vagina's culturally inherited ugliness.
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  4. David Haley (2003). Species Nova [To See Anew]: Art as Ecology. Ethics and the Environment 8 (1):143 - 150.
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  5. Casey Haskins (2011). Aesthetics as an Intellectual Network. Journal of Aesthetics and Art Criticism 69 (3):297-308.
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  6. Hilde Hein (1998). Why Not Feminist Aesthetic Theory? Journal of Speculative Philosophy 12 (1):20 - 34.
  7. María José Alcaraz León (2012). Art in Three Dimensions by Carroll, Noël. Journal of Aesthetics and Art Criticism 70 (2):231-233.
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  8. Nadia Moro (2007). Il «cerchio labirintico dell’intelligibile». Sentimento e forma nella teoria del simbolo di Susanne K. Langer. Acme 40 (1):141-167.
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  9. John Passmore (1968). Aesthetics and the Philosophy of Art. Critica 2 (6):47 - 70.
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  10. Peter Rickman (2005). The Oxford Handbook of Aesthetics. Philosophy Now 52:40-40.
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  11. Hilary Robinson (2003). Book Review: Serena Anderlini-D'Onofrio. The ?Weak? Subject: On Modernity, Eros and Women's Playwriting. Cranbury, N.J.: Associated University Presses, 1998. [REVIEW] Hypatia 18 (3):242-245.
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  12. Rob van Gerwen (2004). Ethical Autonomism. Contemporary Aesthetics 2.
    The debate between autonomists and moralists, I argue, has turned into a stalemate due to two mistaken assumptions. Against these assumptions, I argue that the moral nature of a work's contents does not transfer to the work and that, if we are to morally evaluate works we should try to conceive of them as moral agents. Ethical autonomism holds that art's autonomy consists in its demand that art appreciators take up an artistic attitude. A work's agency then is in how (...)
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Aesthetics, General Works
  1. Lars-Olof Åhlberg (1993). The Nature and Limits of Analytic Aesthetics. British Journal of Aesthetics 33 (1):5-16.
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  2. Philip Alperson (1992). The Arts of Music. Journal of Aesthetics and Art Criticism 50 (3):217-230.
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  3. Ellen Fridland & Andrew Porter (2010). “Jackie O; or How I Learned to Stop Worrying and Love My Chanel”. In Brian Seitz And Ron Scapp (ed.), Fashion Statements: On Style, Appearance, and Reality. Palgrave Macmillan.
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  4. Ben Blumson (2014). Resemblance and Representation. Open Book Publishers.
    It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is to (...)
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  5. Clive Cazeaux (2012). Sensation as Participation in Visual Art. Aesthetic Pathways 2 (2):2-30.
    Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...)
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  6. Jonathan Owen Clark (2013). Aesthetic Experience, Subjective Historical Experience and the Problem of Constructivism. Journal of the Philosophy of History 7 (1):57-81.
    This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the phenomenological tradition and the philosophy (...)
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  7. Jonathan Gilmore (2013). That Obscure Object of Desire: Pleasure in Painful Art. In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
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  8. Athanasia Glycofrydi-Leontsini (1996). The Classic and the Romantic in Neohellenic Aesthetics. Annals of Aesthetics 36:191-210.
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  9. Gaetano Iaia (2007). Matthias Grünewald e l’Altare di Isenheim, tra “Ars Pictorica” e Teologia. Proculus 81 (3/4):289-297.
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  10. Christy Mag Uidhir (2011). Minimal Authorship (of Sorts). Philosophical Studies 154 (3):373-387.
    I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distinctions between collective production and collective authorship.
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  11. Jennifer A. McMahon, Beauty. Oxford Bibliographies Online: Philosophy.
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  12. Ellen Miller (2002). Philosophizing with Sylvia Plath: An Embodied Hermeneutic of Color in Ariel. Philosophy Today 46 (2):91-101.
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  13. Olaf L. Müller (2009). Colour Spectral Counterpoints. Case Study on Aestetic Judgement in the Experimental Sciences. In Ingo Nussbaumer & Galerie Hubert Winter (eds.), Restraint versus Intervention: Painting as Alignment. Verlag für moderne Kunst.
    When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...)
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  14. Tiger C. Roholt (2013). Key Terms in Philosophy of Art. Bloomsbury Academic.
    Key Terms in Philosophy of Art offers a clear, concise and accessible introduction to a vital sub-field of philosophy. The book offers a comprehensive overview of the key terms, concepts, thinkers and major works in the history of this key area of philosophical thought. Ideal for first-year students coming to the subject for the first time, Key Terms in Philosophy of Art will serve as the ideal companion to the study of this fascinating subject. -/- Tiger C. Roholt provides detailed (...)
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  15. Tiger C. Roholt (2007). Reading Aesthetics and Philosophy of Art: Selected Texts with Interactive Commentary. [REVIEW] British Journal of Aesthetics 47 (3):319-320.
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  16. Brian Seitz And Ron Scapp (ed.) (2010). Fashion Statements: On Style, Appearance, and Reality. Palgrave Macmillan.
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  17. Andrea Sauchelli (2014). Sibley on ‘Beautiful’ and ‘Ugly’. Philosophical Papers 43 (3):377-404.
    Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss an (...)
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  18. S. Sim (2013). Miscellaneous Texts I: Aesthetics and Theory of Art, and Miscellaneous Texts II: Contemporary Artists (Together Volume 4 of Jean-Francois Lyotard: Writings on Contemporary Art and Artists). British Journal of Aesthetics 53 (1):133-136.
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  19. Lars Spuybroek (2014). Charis and Radiance: The Ontological Dimensions of Beauty. In S. Van Tuinen (ed.), Giving and Taking: Antidotes to a Culture of Greed. 119-149.
  20. Lars Spuybroek (2012). The Ages of Beauty: Revisiting Hartshorne's Diagram of Aesthetic Values. In A. Mulder (ed.), Vital Beauty: Reclaiming Aesthetics in the Tangle of Technology and Nature. 32-63.
  21. Lars Spuybroek (2011). The Sympathy of Things: Ruskin and the Ecology of Design. V2_NAI Publishers.
  22. Danilo Šuster (2005). The Modality Principle and Work-Relativity of Modality. Acta Analytica 20 (4):41-52.
    Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more in the spirit of contextualism to understand looseness as context-dependent. This points to the general (...)
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  23. Paulo Vélez León (2012). Is There an Islamic Art? A Possible Question About the Status of Islamic Art, From a Western Perspective. ASRI – Arte y Sociedad. Revista de Investigación 2:1-7.
    The question of the status-onto-epistemological-the art is plausible to apply it to any context and cultural domain? Some authors argue that yes without any remorse, address this position in this note: [1] makes a briefly is a bibliographic description of the debates on this problematic, [2] raises the issue of the status of art, within the framework supported by Belting and Lessing, and [3] in correspondence with the above, indicated summarily the difficulties and considerations to take into account when attempting (...)
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  24. Mélanie Walton (2012). Sam Francis: Lesson of Darkness: “Like the Paintings of a Blind Man.” by Lyotard, Jean-François. Journal of Aesthetics and Art Criticism 70 (2):249-251.
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Aesthetics, Misc
  1. Douglas Anderson (1986). Review of Eva Schaper, Pleasure, Preference and Value. [REVIEW] Idealistic Studies 16 (2):186-187.
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  2. James Andow (2015). A Semantic Solution to the Problem with Aesthetic Testimony. Acta Analytica 30 (2):211-218.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the supposed peculiar difficulty with aesthetic (...)
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  3. Hanne Appelqvist (2011). On Music, Wine, and the Criteria of Understanding. SATS: Northern European Journal of Philosophy 12 (1):18-35.
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  4. D. C. B. (1961). Review of Engel, The Problem of Tragedy. [REVIEW] Review of Metaphysics 14 (4):723-723.
  5. Jiri Benovsky (2014). The Limits of Photography. International Journal of Philosophical Studies 22 (5):716-733.
    This paper is about what counts as a photograph and what does not. One way in which this question arises stems from new technologies that keep changing our way of producing photographs, such as digital photography, which not only has now widely replaced traditional film photography but also challenges the very limits of what we count as a photograph. I shall discuss below at some length different aspects of digital photography, but also want to focus here on a new striking (...)
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  6. Luca Bertolino (2010). Die Rolle des Chores in Franz Rosenzweigs Stern der Erlösung. Rosenzweig Jahrbuch / Rosenzweig Yearbook 5:141-159.
    In Franz Rosenzweig's "The Star of Redemption" the chorus comes on stage in three forms: chorus in tragedy (with its presence in ancient classical tragedy and its absence in modern one), chorus of redemption and chorus in church music. Analyzing the role of chorus is useful to study Rosenzweig's aesthetics, which is in a way a "classical" art theory, but not an idealistic "pure" aesthetics, inasmuch as art must be "applied" art. An idealistic pure art condemns us to live in (...)
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  7. Martijn Boven (2015). Kierkegaard's Concepts: Psychological Experiment. In Jon Stewart, Steven M. Emmanuel & William McDonald (eds.), Volume 15, Tome V. Kierkegaard's Concepts: Objectivity to Sacrifice. Ashgate. 159-165.
    For Kierkegaard the ‘psychological experiment’ is a literary strategy. It enables him to dramatize an existential conflict in an experimental mode. Kierkegaard’s aim is to study the source of movement that animates the existing individual (this is the psychological part). However, he is not interested in the representation of historical individuals in actual situations, but in the construction of fictional characters that are placed in hypothetical situations; this allows him to set the categories in motion “in order to observe completely (...)
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  8. Robert Greenleaf Brice (2014). Exploring Certainty: Wittgenstein and Wide Fields of Thought. Lexington Books.
    Exploring Certainty: Wittgenstein and Wide Fields of Thought considers how, where, and to what extent the thoughts and ideas found in Wittgenstein’s On Certainty can be applied to other areas of thought, including: ethics, aesthetics, religious belief, mathematics, cognitive science, and political theory. Robert Greenleaf Brice opens new avenues of thought for scholars and students of the Wittgensteinian tradition, while introducing original philosophies about human knowledge and cognition.
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  9. Elisa Caldarola, Davide Quattrocchi & Gabriele Tomasi (eds.) (2013). Wittgenstein, l'estetica e le arti. Carocci.
    In his writings Wittgenstein has touched some key aspects of aesthetic experience, of the experience of art, and of the dynamics of culture. Moreover, several lines of research in these fields have emerged and are still emerging from the roots of Wittgenstein's thought. This volume collects a number of essays on these topics by renowned international scholars (such as H.-J. Glock, J. Hyman, S. Majetschak, J. Schulte, A. Voltolini, and W. Vossenkuhl) and younger researchers. Our aim is to document the (...)
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  10. Clive Cazeaux (2011). Living Metaphor. Studi Filosofici 34 (1):291-308.
    The concept of ‘living metaphor’ receives a number of articulations within metaphor theory. A review of four key theories – Nietzsche, Ricoeur, Lakoff and Johnson, and Derrida – reveals a distinction between theories which identify a prior, speculative nature working on or with metaphor, and theories wherein metaphor is shown to be performatively always, already active in thought. The two cannot be left as alternatives because they exhibit opposing theses with regard to the ontology of metaphor, but neither can an (...)
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  11. Angela Curran (2012). Aristotle. In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. 21-33.
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  12. Robert M. Ellis (2013). Middle Way Philosophy 3: The Integration of Meaning. Lulu.
    This third volume of the Middle Way Philosophy series applies the revolutionary view, taken from cognitive science, that meaning is found in our bodies rather than in a relationship between language and reality. Cognitive and emotive meaning cannot be separated. This approach reveals the basic error of the metaphysical views that depend on absolute cognitive meaning. It also provides the basis for an account of how we can integrate meaning. Each new time we connect an experience to a symbol we (...)
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  13. Andreas Elpidorou (forthcoming). Seeing the Impossible. Journal of Aesthetics and Art Criticism.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections.
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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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