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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. John Passmore (1968). Aesthetics and the Philosophy of Art. Crítica 2 (6):47 - 70.
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  9. Peter Rickman (2005). The Oxford Handbook of Aesthetics. Philosophy Now 52:40-40.
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  10. 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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  11. 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. 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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  4. 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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  5. Jonathan Gilmore (2014). 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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  6. Athanasia Glycofrydi-Leontsini (1996). The Classic and the Romantic in Neohellenic Aesthetics. Annals of Aesthetics 36:191-210.
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  7. 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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  8. Ellen Miller (2002). Philosophizing with Sylvia Plath: An Embodied Hermeneutic of Color in Ariel. Philosophy Today 46 (2):91-101.
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  9. 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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  10. 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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  11. 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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  12. 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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  13. 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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  14. 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. Hanne Appelqvist (2011). On Music, Wine, and the Criteria of Understanding. SATS 12 (1):18-35.
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  3. Jiri Benovsky (forthcoming). The Limits of Photography. International Journal of Philosophical Studies.
    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 striking new (...)
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  4. Robert Greenleaf Brice (2014). Exploring Certainty: Wittgenstein and Wide Fields of Thought. Lexington Books.
  5. 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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  6. 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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  7. Angela Curran (2012). Aristotle. In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. 21-33.
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  8. 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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  9. 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.
    "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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  10. Hector Ferreiro (2011). El Lenguaje Como Elemento Inmanente Del Pensar y la Tesis Hegeliana de la Muerte Del Arte. Kalíope 7 (14):108-122.
    The main claim of Hegel´s System is that in its inner structure reality is consubstantial with subjective reason, so that, in spite of all its eventual contradictions, reality can be understood by the human mind. However, the process of knowledge of the rationality of reality is at the same time the process of self-knowledge of the rationality that defines as such the human mind. In this general process of knowledge-self-knowledge, the different artistic forms and the different periods of the History (...)
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  11. Joseph S. Fulda (1993). Computer-Generated Art, Music, and Literature: Philosophical Conundrums. SIGART Bulletin 4 (1):6-7.
    Considers the question of the authorship of the works in the title from a /philosophical/, as opposed to legal, standpoint, using the sense-reference dichotomy, intension-extension dichotomy, and procedural knowledge-declarative knowledge dichotomy. Reaches no conclusion.
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  12. Jonathan Gilmore (2013). Normative and Scientific Approaches to the Understanding and Evaluation of Art. Behavioral and Brain Sciences 36 (02):144-145.
    The psycho-historical framework proposes that appreciators' responses to art vary as a function of their sensitivity to its historical dimensions. However, the explanatory power of that framework is limited insofar as it assimilates relevantly different kinds of appreciation and insofar as it eschews a normative account of when a response succeeds in qualifying as an appreciation of art qua art.
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  13. Athanasia Glycofrydi-Leontsini (1996). The Classic and the Romantic in Neohellenic Aesthetics. Annals of Aesthetics 36:191-210.
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  14. Geert Gooskens (2011). Beyond Good and Evil? Morality in Video Games. Philosophical Writings (1):37-44.
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  15. Geert Gooskens (2010). Where Am I? The Problem of Bilocation in Virtual Environments. Postgraduate Journal of Aesthetics 7 (3):13-24.
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  16. Eran Guter (2010). Ornamentality in the New Media. In Anat Biletzki (ed.), Hues of Philosophy: Essays in Memory of Ruth Manor. College Publications.
    Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under conditions (...)
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  17. Eran Guter (2009). Schoenberg and Wittgenstein: The Odd Couple. In V. M. Muntz, K. Puhl & J. Wang (eds.), Language and World, Contributions to the 32nd International Wittgenstein Symposium.
    This paper is an elaborate response to Stanely Cavell's suggestion that Schoenberg's idea of the 12-tone row is a serviceable image of Wittgenstein's idea of grammar. I argue that this suggestion underplays what must be a major premise in any argument for yoking Wittgenstein and Schoenberg: Wittgenstein's philosophically entrenched rejection of modern music. I consider this omission in the context of Wittgenstein's idiosyncratic emulation of Schenker's theory of music in order to facilitate a direct comparison between Wittgenstein's and Schoenberg's sharply (...)
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  18. Allan Hazlett & Christy Mag Uidhir (2011). Unrealistic Fictions. American Philosophical Quarterly 48 (1):33--46.
    In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...)
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  19. Robin James (2009). In but Not of, of but Not In: On Taste, Hipness, and White Embodiment. Contemporary Aesthetics 2 (Aesthetics and Race).
    The status of the body figures paradoxically in the interrelated discourses of whiteness, aesthetic taste, and hipness. While Richard Dyer’s analysis of whiteness argues that white identity is “in but not of the body,” Carolyn Korsmeyer’s and Julia Kristeva’s feminist analyses of aesthetic “taste” demonstrate that this faculty is traditionally conceived as something “of” but not “in” the body. While taste directly distances whiteness from embodiment, hipness negatively affirms this same distance: the hipster proves his elite status within white culture (...)
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  20. Galen A. Johnson (2009). The Retrieval of the Beautiful: Thinking Through Merleau-Ponty's Aesthetics. Northwestern University Press.
    Through the framework of Merleau-Ponty's aesthetics, the author explores fundamental themes of the retrieval of the beautiful--desire, repetition, difference, rhythm and the sublime--drawing also from the works of Paul Czanne, August Rodin ...
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  21. Vasso Kindi (2010). Novelty and Revolution in Art and Science: The Connection Between Kuhn and Cavell. Perspectives on Science 18 (3):284-310.
    Both Kuhn and Cavell acknowledge their indebtedness to each other in their respective books of the 60s. Cavell in (Must We Mean What We Say (1969)) and Kuhn in (The Structure of Scientific Revolutions 1962). They were together at Berkeley where they had both moved in 1956 as assistant professors after their first encounter at the Society of Fellows at Harvard (Kuhn 2000d, p. 197). In Berkeley, Cavell and Kuhn discovered a mutual understanding and an intellectual affinity. They had regular (...)
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  22. Hallvard Lillehammer (2008). Values of Art and the Ethical Question. British Journal of Aesthetics 48 (4):376-394.
    Does the ethical value of a work of art ever contribute to its aesthetic value? I argue that when conventionally interpreted as a request for a conceptual analysis the answer to this question is indeterminate. I then propose a different interpretation of the question on which it is understood as a substantial and normative question internal to the practice of aesthetic criticism.
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  23. Hans Maes (2011). Drawing the Line: Art Versus Pornography. Philosophy Compass 6 (6):385-397.
  24. Hans Maes (2007). Een treffende gelijkenis. Over grappen en kunst. Algemeen Nederlands Tijdschrift voor Wijsbegeerte 99 (4):281-296.
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  25. Christy Mag Uidhir (2013). The Epistemic Misuse & Abuse of Pictorial Caricature. American Philosophical Quarterly 50 (2):137-152.
    I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...)
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