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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2015-03-06
    Robert Stecker (forthcoming). Beyond Art. British Journal of Aesthetics:ayu041.
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  2. added 2015-03-05
    Max Gottschlich (forthcoming). Die Begründung der Kunst als Vermittlung des Noetischen und Aisthetischen bei Platon. Archiv für Begriffsgeschichte 57.
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  3. added 2015-03-02
    Jason Aleksander (forthcoming). The Divine Comedy’s Construction of its Audience in Paradiso 2.1-18. Essays in Medieval Studies 30.
  4. added 2015-02-26
    Daniel Nolan (forthcoming). Personification and Impossible Fictions. British Journal of Aesthetics:ayt053.
    Impossible fictions are not just the creations of puzzle-seeking philosophers or artists experimenting with the limits of fiction. Impossibilities can be found in relatively mundane fiction as well. This article argues that the device of personification, especially of abstract entities such as death or duty, yields impossible fictions, arguing against a number of strategies that might be tried to show that these cases of personification do not yield impossibilities.
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  5. added 2015-02-26
    Raymond Aaron Younis (1998). Nationhood and Decolonization (The English Patient). Literature/Film Quarterly 26 (1).
  6. added 2015-02-26
    Raymond Aaron Younis (1996). Apropos the Last 'Post-'. Literature and Theology 10 (3):280-291.
  7. added 2015-02-26
    Raymond Aaron Younis, Michael Griffith, James Tulip, Ross Keating & Elaine Lindsay (eds.) (1995). Religion Literature and the Arts. RLA.
  8. added 2015-02-26
    Raymond Aaron Younis (1994). Religious Experience, Modern Fiction and the Aesthetics of the Sacred. In Michael Griffith & Ross Keating (eds.), Religion Literature and the Arts. RLA Project. 457-465.
  9. added 2015-02-25
    Raymond Aaron Younis (2009). Space, Time, Being, and Estrangement. Literature & Aesthetics 19 (2):41-49.
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  10. added 2015-02-24
    Jennifer Anna Gosetti-Ferencei (2014). The Mimetic Dimension: Literature Between Neuroscience and Phenomenology. British Journal of Aesthetics 54 (4):425-448.
    When we are most immersed in literary reading, and when that immersion is most significant, we may experience a literary work as constitutive of a ‘world’. With reference to the phenomenological tradition, it can be shown how this world is both a novel creation and serves to disclose, not least by shifting our perspective from, the world of ordinary experience. In this light, it will be shown how the problem of mimesis poses a challenge for recent neuroscientific approaches to literature. (...)
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  11. added 2015-02-24
    Raymond Aaron Younis (2000). The Persistence of the Grand Metanarratives of Progress. [REVIEW] Cultural Studies 14 (2):365-367.
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  12. added 2015-02-24
    Raymond Aaron Younis (1997-1998). Race Representation and Nation. Australian Canadian Studies 15 (2):43-65.
  13. added 2015-02-24
    Raymond Aaron Younis (1997). Orientalism. [REVIEW] Asian Studies Review 21 (1):168-170.
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  14. added 2015-02-24
    Raymond Aaron Younis (1997). Orientalism: History Theory and the Arts. [REVIEW] Asian Studies Review 21 (1):166-168.
  15. added 2015-02-24
    Raymond Aaron Younis (1997). Zhang Zeming's Foreign Moon. Asian Studies Review 21 (2-3):277-280.
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  16. added 2015-02-24
    Raymond Aaron Younis & Michael Griffith James Tulip (eds.) (1996). Religion Literature and the Arts. RLA.
  17. added 2015-02-24
    Raymond Aaron Younis (1992). Schopenhauer Nietzsche and Yeats on 'Passing By'. English Language Notes 30 (2):50-57.
  18. added 2015-02-23
    Jon Robson (2015). Norms of Belief and Norms of Assertion in Aesthetics. Philosophers' Imprint 15 (6).
    Why is it that we cannot legitimately make certain aesthetic assertions – for instance that ‘Guernica is harrowing’ or that ‘The Rite of Spring is strangely beautiful’ – on the basis of testimony alone? In this paper I consider a species of argument intended to demonstrate that the best explanation for the impermissibility of such assertions is that a particular view of the norms of aesthetic belief – pessimism concerning aesthetic testimony – is correct. I begin by outlining the strongest (...)
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  19. added 2015-02-23
    Andrew Benjamin (2015). Art's Philosophical Work. Rowman & Littlefield International.
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  20. added 2015-02-23
    Stanley Corngold (1998). Complex Pleasure: Forms of Feeling in German Literature. Stanford University Press.
    Complex Pleasure deals with questions of literary feeling in eight major German writers—Lessing, Kant, Hölderlin, Nietzsche, Musil, Kafka, Trakl, and Benjamin. On the basis of close readings of these authors Stanley Corngold makes vivid the following ideas: that where there is literature there is complex pleasure; that this pleasure is complex because it involves the impression of a disclosure; that this thought is foremost in the minds of a number of canonical writers; that important literary works in the German tradition—fiction, (...)
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  21. added 2015-02-22
    Raymond Aaron Younis (1998). Michael Haneke: "Funny Games". Cinema Papers 138:38-40.
  22. added 2015-02-22
    Raymond Aaron Younis (1995). Linklater: Before Sunrise. Cinema Papers 104:47-50.
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  23. added 2015-02-20
    John M. Robinson (1999). Motion and the Body in Marcel Proust and Gertrude Stein. Dissertation, City University of New York
    Through an analysis of particular sections in Proust's A la recherche du temps perdu and several pieces by Stein, I examine how their search for bodily presence fosters the development of new styles of writing as the perceptual responses of both authors override the function of the narrator. The dissertation analyzes Husserl's phenomenological ideas on motion and the body and how they are further developed in France by Merleau-Ponty. I then use their phenomenological research in order to expand upon notions (...)
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  24. added 2015-02-19
    Raymond Aaron Younis (1996). Songs of Travail, Songs of Enchantment. In Peter F. Alexander Ruth Hutchison & Deryck Schreuder (eds.), Africa Today. Humanities Research Centre ANU. 233-245.
  25. added 2015-02-19
    Raymond Aaron Younis (1996). Ethics as First Philosophy: The Significance of Levinas. [REVIEW] Australian Journal of Jewish Philosophy 10 (1 & 2):226-230.
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  26. added 2015-02-19
    Raymond Aaron Younis (1995). The Last "Post". In Michel Griifith James Tulip & Raymond Aaron Younis Elaine Lindsay (eds.), Religion Literature and the Arts. 348-359.
  27. added 2015-02-18
    Lee Walters (forthcoming). Serial Fiction, the End? British Journal of Aesthetics.
    Andrew McGonigal (2013) presents some interesting data concerning truth in serial fictions. Such data has been taken by McGonigal, Cameron, and Caplan to motivate some form of contextualism or relativism. I argue, however, that many of these approaches are problematic, and that all are undermotivated as the data can be explained in a standard invariantist semantic framework given some independently plausible principles.
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  28. added 2015-02-17
    R. Stecker (forthcoming). Beyond Art. British Journal of Aesthetics:ayu041.
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  29. added 2015-02-17
    Ioannis Xenakis & Argyris Arnellos (2014). Aesthetic Perception and its Minimal Content: A Naturalistic Perspective. Frontiers in Psychology 5.
    Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under (...)
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  30. added 2015-02-14
    Godfrey Vesey (1973). Philosophy and the Arts. Wiley-Blackwell.
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  31. added 2015-02-13
    Barry Smith (1998). Ingarden versus Meinong o logice fikcji. In Z. Muszyński (ed.), Z badań nad prawdą i poznaniem. Wydawnictwo UMC-S. 283–296.
    : For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied by (...)
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  32. added 2015-02-08
    William Hirstein & Melinda Campbell (2009). Aesthetics and the Experience of Beauty. In William Banks (ed.), The Elsevier Encyclopedia of Consciousness. Elsevier. 1-7.
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  33. added 2015-02-07
    Andreas Dorschel (2015). Ästhetik des Fado. Merkur 69 (2):79-86.
    Fado, the urban folk of Lisbon and Coimbra, is an art of nuances. These nuances music takes from poetry; as ‘sung poetry’ (‘poema cantado’ in Portuguese) fados are not to be equated with ‘songs’ that turn the word into a vehicle – a dominant procedure in, e.g., rock music. Again, ‘voice’ in fado does not so much manifest individual expression; rather it is, as it were, ‘on loan’ from tradition. Keeping some distance from dance, too, fado at the beginning of (...)
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  34. added 2015-02-05
    Ioannis Xenakis & Argyris Arnellos (2015). Aesthetics as an Emotional Activity That Facilitates Sense-Making: Towards an Enactive Approach to Aesthetic Experience. Springer.
    Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic experience could offer (...)
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  35. added 2015-02-05
    Ioannis Xenakis & Argyris Arnellos (2013). The Relation Between Interaction Aesthetics and Affordances. Design Studies 34 (1).
    Even though aesthetics and affordances are two important factors based on which designers provide effective ways of interaction through their artifacts, there is no study or theoretical model that relates these two aspects of design. We suggest a theoretical explanation that relates the underlying functionality of aesthetics, in particular, of interaction aesthetics and of affordances in the design process. Our claim is that interaction aesthetics are one among other factors that allow users to enhance the detection of action possibilities and (...)
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  36. added 2015-02-05
    Ioannis Xenakis, Argyris Arnellos & John Darzentas (2012). The Functional Role of Emotions in Aesthetic Judgement. New Ideas in Psychology 30 (2).
    Exploring emotions, in terms of their evolutionary origin; their basic neurobiological substratum, and their functional significance in autonomous agents, we propose a model of minimal functionality of emotions. Our aim is to provide a naturalized explanation – mostly based on an interactivist model of emergent representation and appraisal theory of emotions – concerning basic aesthetic emotions in the formation of aesthetic judgment. We suggest two processes the Cognitive Variables Subsystem (CVS) which is fundamental for the accomplishment of the function of (...)
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  37. added 2015-02-05
    Ioannis Xenakis, Argyris Arnellos, Thomas Spyrou & John Darzentas (2012). Modelling Aesthetic Judgment: An Interactive-Semiotic Perspective. Cybernetics and Human Knowing 19 (3).
    Aesthetic experience, as a cognitive activity is a fundamental part of the interaction process in which an agent attempts to interpret his/her environment in order to support the fundamental process of decision making. Proposing a four-level interactive model, we underline and indicate the functions that provide the operations of aesthetic experience and, by extension, of aesthetic judgment. Particularly in this paper, we suggest an integration of the fundamental Peircean semiotic parameters and their related levels of semiotic organization with the proposed (...)
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  38. added 2015-02-05
    John P. Mccarthy (1990). "Historical Criticism and the Meaning of Texts": J. R. De J. Jackson. [REVIEW] British Journal of Aesthetics 30 (3):289.
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  39. added 2015-02-05
    Brian Short (1990). "The Iconography of Landscape: Essays on the Symbolic Representation, Design and Use of Past Environments": Edited by Denis Cosgrove and Stephen Daniels. [REVIEW] British Journal of Aesthetics 30 (2):178.
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  40. added 2015-02-05
    David Thistlewood (1990). "Deconstruction of Formal Rationality": Ashgar Talaye Minai. [REVIEW] British Journal of Aesthetics 30 (4):381.
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  41. added 2015-02-05
    Oliver Leaman (1990). "The Origins of Modern Critical Thought: German Aesthetic and Literary Criticism From Lessing to Hegel": Edited by David Simpson. [REVIEW] British Journal of Aesthetics 30 (2):183.
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  42. added 2015-02-05
    Graham Mcfee (1990). "Human Agency: Language, Duty and Value. Philosophical Essays in Honor of J. O. Urmson": Edited by J. Dancy, J. M. E. Moravcsik and C. C. W. Taylor. [REVIEW] British Journal of Aesthetics 30 (1):87.
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  43. added 2015-02-05
    Lydia Goehr (1990). "Music on Deaf Ears: Musical Meaning, Ideology, Education": Lucy Green. [REVIEW] British Journal of Aesthetics 30 (2):190.
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  44. added 2015-02-05
    Davin Mannings (1990). "The Interpretation of Pictures": Mark Roskill. [REVIEW] British Journal of Aesthetics 30 (3):279.
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  45. added 2015-02-05
    K. M. Newton (1990). "F. R. Leavis": Michael Bell. [REVIEW] British Journal of Aesthetics 30 (1):93.
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  46. added 2015-02-05
    Richard H. King (1990). "Paul de Man: Deconstruction and the Critique of Aesthetic Ideology": Christopher Norris. [REVIEW] British Journal of Aesthetics 30 (1):94.
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  47. added 2015-02-05
    K. M. Newton (1990). "The Future of Literary Theory": Edited by Ralph Cohen. [REVIEW] British Journal of Aesthetics 30 (4):387.
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  48. added 2015-02-05
    Richard Gaskin (1990). "Evaluating Art": George Dickie. [REVIEW] British Journal of Aesthetics 30 (4):367.
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  49. added 2015-02-05
    DianÉ Collinson (1990). "The Kantian Sublime: From Morality to Art": Paul Crowther. [REVIEW] British Journal of Aesthetics 30 (4):372.
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  50. added 2015-02-05
    Jonathan Harris (1990). "Rethinking Art History: Meditations on a Coy Science": Donald Preziosi. [REVIEW] British Journal of Aesthetics 30 (4):384.
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1 — 50 / 1285