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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2014-09-18
    Bence Nanay (forthcoming). The History of Vision. Journal of Aesthetics and Art Criticism.
    According to an influential view within art history, the way the ancient Greeks saw the world was importantly different from the way we now see the world and part of what art history should study is exactly how human vision has changed in the course of history. If the ancients did see the world differently from the way we do now, then in order to understand and evaluate their art, we need to understand how they perceived it (and how this (...)
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  2. added 2014-09-18
    Bence Nanay (forthcoming). Perceptual Learning, the Mere Exposure Effect and Aesthetic Antirealism. Leonardo.
    It has been argued that some recent experimental findings about the mere exposure effect can be used to argue for aesthetic antirealism: the view that there is no fact of the matter about aesthetic value. The aim of this paper is to assess this argument and point out that this strategy, as it stands, does not work. But we may still be able to use experimental findings about the mere exposure effect in order to engage with the aesthetic realism/antirealism debate. (...)
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  3. added 2014-09-12
    Daniel Wilson (forthcoming). Art and Abstract Objects. British Journal of Aesthetics:ayu020.
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  4. added 2014-09-12
    Dominic McIver Lopes (forthcoming). Aesthetics of Interaction in Digital Art. British Journal of Aesthetics:ayu040.
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  5. added 2014-09-12
    Robert Stecker (forthcoming). Beyond Art. British Journal of Aesthetics:ayu041.
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  6. added 2014-09-12
    Rafe McGregor (forthcoming). Minerva's Night Out: Philosophy, Pop Culture, and Moving Pictures. British Journal of Aesthetics:ayu021.
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  7. added 2014-09-12
    Mary Edwards (forthcoming). Philosophy and the Novel. British Journal of Aesthetics:ayu039.
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  8. added 2014-09-11
    Timothy Yenter (forthcoming). Buster Keaton and the Puzzle of Love. In Ken Morefield & Nick Olson (eds.), Masters of World Cinema, Vol. 3. Cambridge Scholars.
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  9. added 2014-09-06
    Jesse Prinz (2014). The Aesthetics of Punk Rock. Philosophy Compass 9 (9):583-593.
    Philosophers should listen to punk rock. Though largely ignored in analytic aesthetics, punk can shed light on the nature, limits, and value of art. Here, I will begin with an overview of punk aesthetics and then extrapolate two lessons. First, punk intentionally violates widely held aesthetic norms, thus raising questions about the plasticity of taste. Second, punk music is associated with accompanying visual styles, fashion, and attitudes; this points to a relationship between art and identity. Together, these lessons suggest that (...)
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  10. added 2014-09-05
    Shawn Loht (forthcoming). The Relevance of Heidegger's Conception of Philosophy for the Film-as-Philosophy Debate. Film and Philosophy 19.
    Provides an account of philosophy adopted from Being and Time and later works of Heidegger in order to respond to key questions in the film-as-philosophy debate. I follow the school of Stanley Cavell, Robert Sinnerbrink, and Stephen Mulhall in the view that philosophy occurs in film in phenomenological ways that transcend mere argumentative discourse and logical analysis. Some of the views I counter include those of Bruce Russell and Paisley Livingston.
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  11. added 2014-09-05
    Shawn Loht (2014). Film as Ethical Philosophy and the Question of Philosophical Arguments in Film: A Reading of The Tree of Life. Film and Philosophy 18.
    Responds to the seminal claim of Bruce Russell that films cannot present philosophical arguments. Provides a reading of The Tree of Life (Terrence Malick, 2011) in order to illustrate how this film presents an environmental ethics argument. Some reference to the environmental philosophy of Holmes Rolston III as well as Martin Heidegger.
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  12. added 2014-09-02
    Eric S. Nelson (2013). Generativities: Western Philosophy, Chinese Painting, and the Yijing. Orbis Idearum 1 (1):97–104.
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  13. added 2014-08-30
    James O. Young (2014). The Poverty of Musical Ontology. Journal of Music and Meaning 13:1-19.
    Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological judgments are (...)
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  14. added 2014-08-26
    P. Livingston (2013). Du Bos' Paradox. British Journal of Aesthetics 53 (4):393-406.
    What is now generally known as the paradox of art and negative affect was identified as a paradox by the Abbé Jean-Baptiste Du Bos in 1719. In his attempt to explain how people can admire and enjoy representational works that ‘afflict’ them, Du Bos claims that such representations give rise to ‘artificial’ emotions, provide a pleasurable relief from boredom, and offer us epistemic, artistic, and moral rewards. The paper delineates Du Bos’ proposal, considers the question of Du Bos’ originality, and (...)
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  15. added 2014-08-21
    Robert Briscoe, Virtual Representation in Pictorial Space.
    Philosophical theories of depiction are typically structured by two assumptions: first, that depiction is a form of representation and, second, that the vehicle of a picture’s representational content is the design visible on its 2D surface. In this paper, I introduce a novel, empirically motivated resemblance theory of depiction that rejects both structuring assumptions. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects in phenomenally 3D, pictorial space. The first structuring assumption, according (...)
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  16. added 2014-08-18
    Jean-Pierre Cléro (forthcoming). On The Ambiguous Status of Pleasure in Bentham's Theory of Fictions. Utilitas:1-21.
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  17. added 2014-08-18
    Tzachi Zamir (2014). Why Does Comedy Give Pleasure? British Journal of Aesthetics 54 (2):175-190.
    By way of attempting to explain comic pleasure, this paper proposes an outline for an inclusive theory of comedy — ‘inclusive’ in the sense of amalgamating various past contributions that tend to be thought of as mutually exclusive. More specifically, this essay will (a) propose a teleological definition of comedy, (b) integrate seemingly competing accounts of laughter into a relatively unified explanation, (c) clarify the connection between laughter and comedy, (d) defend a flexible ontology of comic response that enables the (...)
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  18. added 2014-08-13
    Julian Dodd (forthcoming). On a Proposed Test for Artistic Value. British Journal of Aesthetics:ayu028.
    In a recent paper, Robert Stecker proposes the following test for whether a value possessed by an artwork is artistic or not: ‘Does one need to understand the work to appreciate its being valuable in that way? If so, it is an artistic value. If not, it is not.’ An important question here is what Stecker means by ‘appreciation’ in this context. Stecker himself says little about this, but I offer him two accounts of the nature of appreciation, both of (...)
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  19. added 2014-08-11
    James Andow (forthcoming). A Semantic Solution to the Problem with Aesthetic Testimony. Acta Analytica.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon aesthetic 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 (...)
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  20. added 2014-08-11
    Martina Sauer (2014-03-15). Lambert Wiesing, Sehen lassen. Die Praxis des Zeigens, Berlin 2013. [REVIEW] Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 14 (3).
  21. added 2014-08-11
    Maarten Steenhagen (2014). Sehen Lassen: Die Praxis des Zeigens. British Journal of Aesthetics:ayu016.
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  22. added 2014-08-11
    Daniel Nolan & Alexander Sandgren (2014). Creationism and Cardinality. Analysis:anu089.
    Creationism about fictional entities requires a principle connecting what fictions say exist with which fictional entities really exist. The most natural way of spelling out such a principle yields inconsistent verdicts about how many fictional entities are generated by certain inconsistent fictions. Avoiding inconsistency without compromising the attractions of creationism will not be easy.
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  23. added 2014-08-09
    Derek Allan (2104). André Malraux. In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). 239-243 (Vol 4).
    An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.
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  24. added 2014-08-07
    Olaf Corry (2014). Models as Make-Believe: Imagination, Fiction and Scientific Representation. British Journal of Aesthetics:ayu017.
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  25. added 2014-08-07
    Fiora Salis, Entidades Ficcionais. Compêndio Em Linha de Problemas de Filosofia Analítica.
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  26. added 2014-08-07
    Simon Fokt (2014). Andina, Tiziana: The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories, 2013. [REVIEW] British Journal of Aesthetics 54 (2):ayu018.
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  27. added 2014-08-03
    Noël Carroll (2014). Ethics and Comic Amusement. British Journal of Aesthetics 54 (2):241-253.
    This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.
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  28. added 2014-08-03
    Claire Elizabeth McEachern (2014). Two Loves I Have: Of Comfort and Despair in Shakespearean Genre. British Journal of Aesthetics 54 (2):191-211.
    A consideration of the differences between Shakespearean comedy and tragedy in light of the historically particular inflection of dramatic irony in the English Reformation. The essay compares classical and humanist understandings of literary response and then proposes that we consider that response as a function of knowledge with respect to (and hence feelings about) a protagonist and his plight. The essay compares the structures of suspense in Sophocles’ and Seneca’s Oedipus plays, and then goes on to examine the ways in (...)
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  29. added 2014-08-03
    John Morreall (2014). The Comic Vision of Life. British Journal of Aesthetics 54 (2):125-140.
    Tragedy has traditionally been ranked higher than comedy, and critics often valorize the ‘tragic vision of life’. Using twenty contrasts between tragedy and comedy, I argue that there is a ‘comic vision of life’ which is superior to the tragic vision, especially in the post-heroic era in which we live.
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  30. added 2014-08-03
    James R. Hamilton (2014). Notes on the Experience of Tragedy. British Journal of Aesthetics 54 (2):255-265.
    Gregory Currie offers a statement of an interesting problem about tragedy: ‘(1) We want the fiction be such that something, E, occurs in it; [yet] (2) we react in ways which make it tempting to say we want E not to occur.’ He argues for one way to make (2) more precise with regard to what it is we are tempted to say. I argue he should not so readily have accepted (1). More significantly, however, I argue both that Currie (...)
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  31. added 2014-08-03
    Andrew Huddleston (2014). Hegel on Comedy: Theodicy, Social Criticism, and the 'Supreme Task' of Art. British Journal of Aesthetics 54 (2):227-240.
    According to Hegel, art in its ‘supreme task’ is engaged in ‘bringing to our minds and expressing the Divine, the deepest interests of mankind, and the most comprehensive truths of the spirit’. Raymond Geuss, in a highly illuminating paper, has connected Hegel’s conception of art’s supreme task with the project of theodicy. In this paper I explore Hegel’s aesthetics of comedy through this theodicy-based framework Geuss has proposed, and I consider what light this framework can shed on comedy and, reciprocally, (...)
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  32. added 2014-08-03
    Sandra Shapshay & Steven Wagschal (2014). Contemporary Cinematic Tragedy and the 'Silver-Lining' Genre. British Journal of Aesthetics 54 (2):161-174.
    Although much recent work in Anglo-American aesthetics on tragedy has focused exclusively on the ‘problems’ of tragic pleasure, in the long tradition of reflection on tragedy philosophers have focused more on tragedy as a genre of particular moral and political-philosophical significance. In this paper, we investigate the tragedy of our day in light of these latter concerns in order to determine what works of this genre reveal about the sense of the terrible necessities or near-necessities with which our contemporary Western (...)
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  33. added 2014-08-03
    Rafael De Clercq (2014). Building Plans as Natural Symbols. Architecture Philosophy 1 (1):61-78.
    Carroll William Westfall has claimed that building types can serve as natural symbols of (the purposes served by) activities such as venerating, celebrating, trading, and dwelling. The aim of this paper is to interpret Westfall’s claim in a way that makes it non-trivial and yet worthy of further investigation. In particular, an attempt is made to explain the connection between building types and what they symbolize without appealing to convention. The question is also answered whether a non-conventional connection is compatible (...)
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  34. added 2014-08-03
    Malcolm Heath (2014). Aristotle and the Value of Tragedy. British Journal of Aesthetics 54 (2):111-123.
    This article explores Aristotle’s understanding of the value of tragedy. The primarily technical analyses of the Poetics are not sufficient for this purpose: they must be read in the context of Aristotle’s philosophical anthropology. An outline of Aristotle’s understanding of the structure of human motivation provides a framework within which to interpret his discussion of the uses of music, and in particular of music’s status as an intrinsically valuable component of cultivated leisure. Applying that model to tragedy requires an explanation (...)
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  35. added 2014-08-03
    Andy Kesson (2014). Was Comedy a Genre in English Early Modern Drama? British Journal of Aesthetics 54 (2):213-225.
    This article considers the changing pressures of genre on early modern plays and playwrights. The permanent London theatres of this time enjoyed only a brief cultural life (c. 1570s–1640s) but, despite this brevity, produced radical changes in the commercial, creative and aesthetic implications of genre. The article begins with the Shakespeare First Folio which, relatively late in this period (1623), set out three genres in the form of a list across its title page: Comedies, Histories and Tragedies. This triad has (...)
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  36. added 2014-08-03
    Alison Denham (2014). Tragedy Without the Gods: Autonomy, Necessity and the Real Self. British Journal of Aesthetics 54 (2):141-159.
    The classical tragedies relate conflicts, choices and dilemmas that have meaningful parallels in our own experience. Many of the normative dimensions of tragedy, however, rely critically on the causal and motivational efficacy of divine forces. In particular, these narratives present supernatural interventions invading their characters’ practical deliberations and undermining their claims to autonomous agency. Does this dynamic find any analogy in a contemporary, secular conception of moral agency? It does, but it is an analogy that challenges certain standard philosophical accounts (...)
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  37. added 2014-07-20
    Ben Bronner (forthcoming). Maps and Absent Symbols. Australasian Journal of Philosophy:1-17.
    ABSENCE is the claim that, if a symbol appears on a map, then absence of the symbol from some map coordinate signifies absence of the corresponding property from the corresponding location. This claim is highly intuitive and widely endorsed. And if it is true, then cartographic representation is strikingly different from linguistic representation. I argue, however, that ABSENCE is false of various maps and that we have no reason to believe it is true of any maps. The intuition to the (...)
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  38. added 2014-07-15
    Simon Fokt (2014). The Cluster Account of Art: A Historical Dilemma. Contemporary Aesthetics 12:N/A.
    The cluster account, one of the best attempts at art classification, is guilty of ahistoricism. While cluster theorists may be happy to limit themselves to accounting for what art is now rather than how the term was understood in the past, they cannot ignore the fact that people seem to apply different clusters when judging art from different times. This paper shows that while allowing for this kind of historical relativity may be necessary to save the account, doing so could (...)
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  39. added 2014-07-14
    Ben Ware (forthcoming). Tragic-Dialectical-Perfectionism: On the Ethics of Beckett's 'Endgame'. College Literature.
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  40. added 2014-07-09
    Kenneth Noe (forthcoming). Intensive Magnitudes, Temporality, and Sensus Communis in Kant’s Aesthetics. International Philosophical Quarterly 55.
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  41. added 2014-06-25
    Anne Schulherr Waters, A Transnational Indigenist Woman’s Agenda. American Philosophical Association Newsletter on American Indians in Philosophy, Vol.2, #2,.
    A poem delivered upon the memorial of Viola Cordova in honor of indigenous women everywhere. "Two millennia of indigenous diasporas, yet we are all indigenous to this planet . . . There is a transnational indigenist agenda at work here to preserve and protect the human race for humans to remain among all our relations" .
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