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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2015-04-24
    Dan Cavedon-Taylor (forthcoming). Photographic Phenomenology as Cognitive Phenomenology. British Journal of Aesthetics:ayu098.
    Photographic pictorial experience is thought to have a peculiar phenomenology to it, one that fails to accompany the pictorial experiences one has before so-called ‘hand-made’ pictures. I present a theory that explains this in terms of a common factor shared by beliefs formed on the basis of photographic pictorial experience and beliefs formed on the basis of ordinary, face-to-face, perceptual experience: the having of a psychologically immediate, non-inferential etiology. This theory claims that photographic phenomenology has less to do with photographs (...)
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  2. added 2015-04-24
    James O. Young (forthcoming). The Ancient and Modern System of the Arts. British Journal of Aesthetics:ayu097.
    Paul Oskar Kristeller famously argued that the modern “system of the arts” did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts: poetry, painting, music, sculpture and dance. Writers from the sixteenth (...)
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  3. added 2015-04-24
    Shen-yi Liao & Aaron Meskin (forthcoming). Aesthetic Adjectives: Experimental Semantics and Context-Sensitivity. Philosophy and Phenomenological Research.
    One aim of this paper is to make a contribution to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic evaluations (e.g., ‘beautiful’, ‘ugly’, (...)
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  4. added 2015-04-24
    Kengo Miyazono & Shen-yi Liao (forthcoming). The Cognitive Architecture of Imaginative Resistance. In Amy Kind (ed.), The Routledge Handbook of Philosophy of Imagination.
    Where is imagination in imaginative resistance? -/- We seek to answer this question by connecting two ongoing lines of inquiry in different subfields of philosophy. In philosophy of mind, philosophers have been trying to understand imaginative attitudes’ place in cognitive architecture. In aesthetics, philosophers have been trying to understand the phenomenon of imaginative resistance. By connecting these two lines of inquiry, we hope to find mutual illumination of an attitude (or cluster of attitudes) and a phenomenon that have vexed philosophers. (...)
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  5. added 2015-04-24
    David Davies (forthcoming). Fictive Utterance and the Fictionality of Narratives and Works. British Journal of Aesthetics:ayu061.
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  6. added 2015-04-24
    Michael Newall (2015). Painterly and Planar: Wölfflinian Analysis Beyond Classical and Baroque. Journal of Aesthetics and Art Criticism 73 (2):171-178.
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  7. added 2015-04-24
    Daniel Herwitz (2015). Auxier, Randall E. And Hahn, Lewis Edwin, Eds. The Philosophy of Arthur C. Danto. Chicago, Il: Open Court Publishing Company, 2013, XXXII + 796 Pp., 31 B&W Illus., $99.95 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):203-207.
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  8. added 2015-04-24
    Olivier Mathieu (2015). PIPPIN, ROBERT. After the Beautiful: Hegel and the Philosophy of Pictorial Modernism. University of Chicago Press, 2014, X + 159 Pp., 36 B&W + 7 Color Illus., $27.50 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):201-203.
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  9. added 2015-04-24
    Rafael De Clercq (2015). The Lazy Person's Approach to Depiction. Journal of Aesthetics and Art Criticism 73 (2):95-104.
    It has been argued (for example, by Nelson Goodman and John Hyman) that ‘depicts’ and similar terms such as ‘is a picture of’ and ‘represents’ are semantically ambiguous: sometimes they are two-place predicates expressing a relation, and sometimes they are not. This article takes issue with this claim and develops an alternative theory according to which the ambiguity in question is pragmatic rather than semantic.
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  10. added 2015-04-24
    Florian Cova & Amanda Garcia (2015). The Puzzle of Multiple Endings. Journal of Aesthetics and Art Criticism 73 (2):105-114.
    Why is it that most fictions present one and only one ending, rather than multiple ones? Fictions presenting multiple endings are possible, because a few exist; but they are very rare, and this calls for an explanation. We argue that such an explanation is likely to shed light on our engagement with fictions, for fictions having one and only one ending seem to be ubiquitous. After dismissing the most obvious explanations for this phenomenon, we compare the scarcity of multiple endings (...)
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  11. added 2015-04-24
    James O. Young (2015). Bonds, Mark Evan. Absolute Music: The History of an Idea. Oxford University Press, 2014, XIII + 375 Pp., $35.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):207-208.
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  12. added 2015-04-24
    Jeffrey Goodman (2015). EVERETT, ANTHONY. The Nonexistent. Oxford University Press, 2013, 256 Pp., $65.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):222-225.
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  13. added 2015-04-24
    Jason Gaiger (2015). Intuition and Representation: Wölfflin's Fundamental Concepts of Art History. Journal of Aesthetics and Art Criticism 73 (2):164-171.
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  14. added 2015-04-24
    Vladimir J. Konečni (2015). Cochrane, Tom, Bernardino Fantini, and Klaus R. Scherer, Eds. The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control. Oxford University Press, 2013, X + 381 Pp., 22 B&W Illustrations, $99.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):214-218.
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  15. added 2015-04-24
    Whitney Davis (2015). Succession and Recursion in Heinrich Wölfflin's Principles of Art History. Journal of Aesthetics and Art Criticism 73 (2):157-164.
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  16. added 2015-04-24
    Aaron Meskin & Jon Robson (2015). Taste and Acquaintance. Journal of Aesthetics and Art Criticism 73 (2):127-139.
    The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just as (...)
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  17. added 2015-04-24
    Bence Nanay (2015). Two‐Dimensional Versus Three‐Dimensional Pictorial Organization. Journal of Aesthetics and Art Criticism 73 (2):149-157.
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  18. added 2015-04-24
    Andrea Baldini (2015). SOMMER, DORIS. The Work of Art in the World: Civic Agency and Public Humanities. Duke University Press, 2014, 232 Pp., 14 B&W Illus., $79.95 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):218-220.
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  19. added 2015-04-24
    William Irwin (2015). Authorial Declaration and Extreme Actual Intentionalism: Is Dumbledore Gay? Journal of Aesthetics and Art Criticism 73 (2):141-147.
    Authorial and artistic declarations would seem to be a boon to interpreters who favor actual intentionalism. However, because they believe there are limits on the power of authors and artists to embody their intentions in their works, moderate actual intentionalists hold that some intentions are irrelevant. Looking closely at authorial declaration about the sexuality of Albus Dumbledore in the Harry Potter novels, I argue in favor of the extreme actual intentionalist position that genuine authorial declarations should not be ignored because (...)
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  20. added 2015-04-24
    Dina A. Ramadan (2015). KANE, PATRICK. The Politics of Art in Modern Egypt: Aesthetics, Ideology, and Nation‐Building. New York: I.B. Tauris, 2013, Xxvi + 247 Pp., 59 B&W Illus., $80.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):220-222.
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  21. added 2015-04-24
    Mara Miller (2015). TANSMAN, ALAN, The Aesthetics of Japanese Fascism, University of California Press, 2009, 368 Pp., $57.95 Cloth.; TANSMAN, ALAN, Ed., The Culture of Japanese Fascism, Duke University Press, 2009, 496 Pp., 24 Illus., $99.95 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):210-214.
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  22. added 2015-04-24
    Luke Manning (2015). Reply to Sartorelli on Pretense and Representing Fictional Objects. Journal of Aesthetics and Art Criticism 73 (2):193-196.
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  23. added 2015-04-24
    Ivan Gaskell (2015). MARTINON, JEAN‐PAUL, Ed. The Curatorial: A Philosophy of Curating. London: Bloomsbury, 2013, Xix + 255 Pp., 5 B&W Illus., £65.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):208-210.
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  24. added 2015-04-24
    Robbie Kubala (2015). Philosophy, Literature, and Emotional Engagement: A Response to Nanay. Journal of Aesthetics and Art Criticism 73 (2):196-200.
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  25. added 2015-04-24
    David Bordwell (2015). Wölfflin and Film Style: Some Thoughts on a Poetics of Pictures. Journal of Aesthetics and Art Criticism 73 (2):178-188.
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  26. added 2015-04-24
    Joseph Sartorelli (2015). The Pretense Theory and Exclusionary Arguments: A Response to Manning. Journal of Aesthetics and Art Criticism 73 (2):189-192.
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  27. added 2015-04-23
    Emar Maier, Fictional Names in Asymmetric Semantics.
    Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while plain assertions (...)
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  28. added 2015-04-23
    Amy Kind (ed.) (forthcoming). The Routledge Handbook of Philosophy of Imagination. Routledge.
  29. added 2015-04-21
    Daan Evers & Natalja Deng (forthcoming). Acknowledgement and the Paradox of Tragedy. Philosophical Studies.
    We offer a new answer to the paradox of tragedy. We explain part of the appeal of tragic art in terms of its acknowledgement of sad aspects of life and offer a tentative explanation of why acknowledgement is a source of pleasure.
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  30. added 2015-04-19
    David A. White (1972). Husserl and the Poetic Consciousness. Pacific Philosophical Quarterly 53 (4):408.
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  31. added 2015-04-17
    Guy Rohrbaugh (2012). Must Ontological Pragmatism Be Self-Defeating? In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. 29-48.
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  32. added 2015-04-15
    Geoffrey Belknap (forthcoming). William Henry Fox Talbot. Beyond Photography: A Review. Studies in History and Philosophy of Science Part A.
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  33. added 2015-04-13
    Robert Hopkins (forthcoming). Sartre. In Amy Kind (ed.), Routledge Handbook of the Philosophy of Imagination. Routledge.
    In The Imaginary Sartre offers a systematic, insightful and heterodox account of imagining in many forms. Beginning with four ‘characteristics’ he takes to capture the phenomenology of imagining, he draws on considerations both philosophical and psychological to describe the deeper nature of the state that has those features. The result is a view that remains the most potent challenge to the Humean orthodoxy that to this day dominates both philosophical and psychological thinking on the topic.
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  34. added 2015-04-11
    Derek Allan, Analytic Aesthetics and the Dilemma of Timelessness.
    The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at obvious variance with our experience of the art of the past. Analytic aesthetics avoids examining this key problem because it confines its attention to issues such as the nature of aesthetic pleasure, whether the appreciation of art should (...)
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  35. added 2015-04-11
    José Ortega Y. Gasset (2009). Over kunstkritiek. Nexus 52:123-128.
    In een tafelrede, uitgesproken in 1925, wijst de Spaanse filosoof José Ortega y Gasset zijn vriend, kunstcriticus Juan de la Encina, op de problemen waar een criticus voor komt te staan in de moderne tijd. De criticus heeft niet langer de beschikking over een vaste code aan de hand waarvan hij de kwaliteit van een kunstwerk kan bepalen. In plaats daarvan ziet hij zich geconfronteerd met een verandering die zich in de opvattingen van de mensen heeft voorgedaan. In de huidige (...)
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  36. added 2015-04-11
    José Ortega Y. Gasset (1914). Meditaciones del Quijote: Meditación preliminar, meditación primera. Residencia de Estudiantes.
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  37. added 2015-04-09
    Rafael De Clercq (2015). The Aesthetics of Design, by Jane Forsey. Mind 124 (494):627-630.
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  38. added 2015-04-09
    Noël Carroll (2015). Defending the Content Approach to Aesthetic Experience. Metaphilosophy 46 (2):171-188.
    This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.
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  39. added 2015-04-06
    Martti Koskenniemi (forthcoming). Law’s Aesthetic Will It Save Us? Philosophy and Social Criticism:0191453715576770.
    The article reviews Hauke Brunkhorst’s new book on the critical theory of revolutions.
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  40. added 2015-04-06
    Min Xu (forthcoming). The Creator-Determining Problem and Conjunctive Creationism About Fictional Characters. Dialogue:1-14.
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  41. added 2015-04-06
    Chelsey Crawford (2015). The Permeable Self: A Theory of Cinematic Quotation. Film-Philosophy 19:105-123.
    This essay seeks to define and conceptualize cinematic quotation against scholarship that positions the auteur as the locus of meaning for a given film, especially with respect to any intertextual references. By troubling a reliance on frameworks of pathological, singular control and revealing their inability to define the specific characteristics of quotation - beyond merely thinking of it as one form of allusion or intertextuality - this essay argues that an ontological friction is inherent to instances of cinematic quotation. By (...)
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  42. added 2015-04-06
    Katya Mandoki (2015). The Indispensable Excess of the Aesthetic: Evolution of Sensibility in Nature. Lexington Books.
    This book offers a compelling account of the evolution of sensibility, weaving together Darwinian and biosemiotic theory. It works along non-anthropomorphic aesthetics of the appreciation and creation of beauty in nature as an end in itself which has practical benefit.
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  43. added 2015-04-06
    Davide Panagia (2015). Films Blancs : Luminosity in the Films of Michael Mann. Film-Philosophy 19:33-54.
    This paper is a study of the place of luminosity in the films of Michael Mann and the way in which luminosity is not a tool of illumination but a radiance that signals the bodying forth of appearances. The event of luminosity in Mann's films is an attempt to re-imagine the conventional value structures that create a link between film and indexicality, as if his admiration for the photoreal effects of film belies an insistence that the advenience of an appearance (...)
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  44. added 2015-04-06
    Lea Ypi (2015). Two Pictures of Nowhere. Philosophy and Social Criticism 41 (3):219-223.
    This article critically engages with Rainer Forst’s recent book Justification and Critique: Towards a Critical Theory of Politics, focusing in particular on his account of utopia in the last part of it.
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  45. added 2015-04-06
    Jane Bennett (2015). Encounters with an Art-Thing. Evental Aesthetics 3 (3):91-110.
    What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...)
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  46. added 2015-04-06
    Celestine Chukwuemeka Mbaegbu (2015). The Effective Power of Music in Africa. Open Journal of Philosophy 5 (3):176-183.
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  47. added 2015-04-06
    Jan Simons (2015). Anti-Christ : Tragedy, Farce or Game? Film-Philosophy 19:1-15.
    Lars von Trier's movies can be seen as a series of iterations in an infinitely repeated prisoner's dilemma. After testing the logic of this game, at the core of which is the dilemma of cooperation or conflict, at the middle level at which an individual confronts a community up till Dogville, he has transposed the game to the level of social systems in Manderlay and the level of the minimal social unit, the couple in Anti-Christ. The story is the Oedipus (...)
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  48. added 2015-04-06
    Brandon White (2015). Trying Truths: Dreyer, Bresson and the Meaning Effect. Film-Philosophy 19:67-84.
    This essay explores the relationship between fact and faith developed by two cinematic representations of the trial and execution of Joan of Arc: Carl Theodor Dreyer's The Passion of Joan of Arc and Robert Bresson's The Trial of Joan of Arc . Both films are preoccupied with how to present evidence - the proof of Joan's supposedly divine visions - that is ultimately unverifiable, and turn this epistemological problem into their chief aesthetic concern. Through readings of Aquinas, Susan Sontag, and (...)
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  49. added 2015-04-06
    Moshe Shai Rachmuth (2015). Laughter and the Death of the Comic: Charlie Chaplin's The Circus and Limelight in Light of the Ethics of Emmanuel Levinas. Film-Philosophy 19:15-32.
    Using the work of Emmanuel Levinas, this article sheds light on Charlie Chaplin's The Circus , a piece that so far eluded the critics, despite its immense popularity with theater viewers. I show that it is not Chaplin's lack of inventiveness that makes the Tramp risk his life on the tightrope 'for nothing'. It is, on the contrary, Chaplin's intuitive sense that makes him believe, anticipating Levinas, that it is human and simple for a person to help another for no (...)
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  50. added 2015-04-06
    Andrew Benjamin (2015). Art's Philosophical Work. Rowman & Littlefield International.
    World-leading philosopher Andrew Benjamin presents a radically new materialist philosophy of art and a rethinking of the history of art in that context.
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1 — 50 / 3358