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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2015-08-30
    Elisa Galgut (2014). Harnessing the Imagination. Contemporary Aesthetics 2014:xx-yy.
    Contemporary philosophical discussion on the nature of the imagination has been influenced by recent empirical work in cognitive science. Our imaginative and emotional engagement with works of fiction has been explained by appealing to the similarities between our ordinary cognitive functioning and the workings of our imagination. Believing and imagining, it is argued, are governed by a “single code.” I argue against this claim, and suggest that our imagination – and in particular our literary imagination – in many respects functions (...)
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  2. added 2015-08-29
    Brandon Polite (2014). The Varieties of Musical Experience. Pragmatism Today 5 (2):93-100.
    Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...)
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  3. added 2015-08-26
    Simon Fokt (forthcoming). Pornographic Art and the Aesthetics of Pornography. British Journal of Aesthetics:ayu059.
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  4. added 2015-08-26
    Adrian Currie & Anton Killin (forthcoming). Musical Pluralism and the Science of Music. European Journal for Philosophy of Science:1-22.
    The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a _pluralistic_ conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of music ought to proceed: (...)
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  5. added 2015-08-26
    Darren Hudson Hick (2015). The Co‐Author Is Dead; Long Live the Co‐Author: A Reply to Killin, Bacharach, and Tollefsen. Journal of Aesthetics and Art Criticism 73 (3):337-341.
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  6. added 2015-08-26
    Anton Killin (2015). Works, Authors, Co‐Authorship, and Power: A Response to Hick. Journal of Aesthetics and Art Criticism 73 (3):334-337.
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  7. added 2015-08-26
    Sondra Bacharach & Deborah Tollefsen (2015). Co‐Authorship, Multiple Authorship, and Posthumous Authorship: A Reply to Hick. Journal of Aesthetics and Art Criticism 73 (3):331-334.
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  8. added 2015-08-26
    Christopher Bartel (2015). The Metaphysics of Mash‐Ups. Journal of Aesthetics and Art Criticism 73 (3):297-308.
    Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an ontology of (...)
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  9. added 2015-08-25
    Maria Elisabeth Reicher (2015). Computer-Generated Music, Authorship, and Work Identity. Grazer Philosophische Studien 91:107-130.
    In a paper entitled “Computer Composition and Works of Music: Variation on a Theme of Ingarden” (1988), Peter Simons explores some ontological problems that ensue from the use of certain forms of composition software, where the final outcome (the score) is the product of random processes within the computer. Such a method of composition raises, among others, the following questions: What kind of work (if any) has been created? Is it a work of music in the first place? Who is (...)
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  10. added 2015-08-25
    Raffaele Pisano & Paolo Bussotti (2015). Galileo in Padua: Architecture, Fortifications, Mathematics and “Practical” Science. Lettera Matematica Pristem International 2 (4):209-222.
    During his stay in Padua ca. 1592–1610, Galileo Galilei (1564–1642) was a lecturer of mathematics at the University of Padua and a tutor to private students of military architecture and fortifications. He carried out these activities at the Academia degli Artisti. At the same time, and in relation to his teaching activities, he began to study the equilibrium of bodies and strength of materials, later better structured and completed in his Dialogues Concerning Two New Sciences of 1638. This paper examines (...)
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  11. added 2015-08-25
    Jennifer Gosetti-Ferencei (2010). Immanent Transcendence in Rilke and Stevens. The German Quarterly 83 (3):275-296.
    The present study of the philosophical orientation within the poetics of Rilke and Stevens aims to show that in the context of modern poetry, transcendence, or “crossing beyond,” must be understood in two distinct senses, as vertical and horizontal projections. The usurpation of one by the other or the transfer between them distinguishes the poetry of Rilke and Stevens and makes a comparative reading particularly illuminating. The fact that Rilke and Stevens are two of the most widely invoked poets in (...)
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  12. added 2015-08-25
    Rafael De Clercq (2008). Aesthetic Ideals. In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan 188-202.
    The aim of this chapter is to understand how sortals determine what aesthetic properties an object has. It is argued that Frank Sibley’s notion of an ideal of beauty does not help us to achieve that aim. Instead, it is argued, the special aesthetic relevance of sortals is better understood by reference to the (non-aesthetic) ideas of normality and functionality associated with sortals. In passing, the paper also argues that there must be a maximum degree of beauty if non-comparative judgments (...)
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  13. added 2015-08-24
    Rafael De Clercq (2013). Beauty. In Berys Gaut Gaut & Dominic Lopes (eds.), Routledge Companion to Aesthetics 3rd Edition. Routledge
    This survey chapter focuses on two questions concerning the nature of beauty. First, can “beauty” be defined, and if so, how? Second, what is the relation between beauty and the mind; for example, between being beautiful and being judged beautiful, or between being beautiful and being the object of pleasure?
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  14. added 2015-08-23
    Hanna Kim (forthcoming). Aesthetic Terms, Metaphor, and Categories: A Reply to De Clercq. Philosophia:1-8.
    In his paper, “Aesthetic Terms, Metaphor and the Nature of Aesthetic Properties”, Rafael De Clercq claims to offer a category-based explanation of the metaphorical uninterpretability of aesthetic terms, and establish that the concept of an aesthetic property is fully analyzable in non-aesthetic terms. Both would be interesting and noteworthy achievements if accomplished. However, I argue in this discussion piece that he fails to achieve either goal.
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  15. added 2015-08-23
    Hanna Kim (forthcoming). "Metaphor-Proof Expressions: A Dimensional Account of the Metaphorical Uninterpretability of Aesthetic Terms. Journal of Aesthetics and Art Criticism 73 (4).
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  16. added 2015-08-21
    Eveline Seghers (2015). The Artful Mind: A Critical Review of the Evolutionary Psychological Study of Art. British Journal of Aesthetics 55 (2):225-248.
    Evolutionary psychology is among the various evolutionary and cognitive perspectives that have been used to account for the origins of art. It sets out to explain modern human psychology by means of the evolutionary history of the species, and by determining why and how our extant cognitive machinery evolved as adaptations to past environmental surroundings or by-products of such adaptations. In the case of art, evolutionary psychologists seek to track down its cognitive foundations and establish its evolutionary rationale, for instance (...)
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  17. added 2015-08-21
    Steven G. Smith (2015). The Watcher and the Lens. British Journal of Aesthetics 55 (2):199-208.
    A Lens Problem arises when a movie viewer is dissatisfied with the physical information provided by shots taken with non-normal lenses. Experiences will vary, but the real possibility of the Lens Problem points to an important dimension of movie experience that is neglected by theories oriented to realistic seeing or imaginative seeing-as. Before we construe a presentation as documentary or fictional, we are in the first place watchers: our more or less constant watchful interest in gleaning useful information about position (...)
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  18. added 2015-08-21
    Philip Letts (2015). Against Kania’s Fictionalism About Musical Works. British Journal of Aesthetics 55 (2):209-224.
    Andrew Kania has attempted to argue for nihilistic fictionalism about musical works. This view combines an error theory about musical work discourse with the proposal that musical work discourse has a non-alethic value which warrants continued participation in it. In this paper, I argue that Kania fails to establish either component of nihilistic fictionalism. First, I elaborate and reject Kania’s attempt to establish fictionalism on the basis of a methodological proposal he calls ‘descriptivism’. I argue that the methodology is unpopular, (...)
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  19. added 2015-08-21
    Peer F. Bundgaard & Frederik Stjernfelt, Investigations Into the Phenomenology and the Ontology of the Work of Art.
    ​This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second issue (...)
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  20. added 2015-08-21
    Andrew Kania (2015). An Imaginative Theory of Musical Space and Movement. British Journal of Aesthetics 55 (2):157-172.
    The experience of notes as higher or lower than one another, and of movement within passages of music, underpins many other musical experiences. Several theories of such an experience have been defended, claiming that concepts of space and movement variously play some sort of metaphorical role in our experience, can be eliminated from musical discourse, or apply literally to the music. I argue that all such theories should be rejected in favour of the view that our experience of musical space (...)
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  21. added 2015-08-14
    Teresa Marques (forthcoming). Retractions. Synthese.
    Intuitions about retractions have been used to motivate truth relativism about certain types of claims. Among these figure epistemic modals, knowledge attributions, or personal taste claims. On MacFarlane’s prominent relativist proposal, sentences like “the ice cream might be in the freezer” or “Pocoyo is funny” are only assigned a truth-value relative to contexts of utterance and contexts of assessment. Retractions play a crucial role in the argument for assessment-relativism. A retraction of a past assertion is supposed to be mandatory whenever (...)
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  22. added 2015-08-11
    Alberto Voltolini (2015). A Suitable Metaphysics for Fictional Entities. In S. Brock & A. Everett (eds.), Fictional Objects. Oxford University Press 129-146.
    There is a list of desiderata that any good metaphysics of fictional entities should be able to fulfill. These desiderata are: 1) the nonexistence of fictional entities; 2) the causal inefficacy of suchentities;3)the incompleteness of such entities;4)the created character of such entities; 5) the actual possession by ficta of the narrated properties; 6) the unrevisable ascription to ficta of such properties; and 7) the necessary possession by ficta of such properties. (Im)possibilist metaphysics uncontroversially satisfy 1) and 2); Neo-Meinongian metaphysics satisfy (...)
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  23. added 2015-08-11
    Alberto Voltolini (2015). A Syncretistic Theory of Depiction. Palgrave Macmillan.
    What is depiction? This is a venerable question that has received many different answers throughout the whole history of philosophy, especially in contemporary times. A Syncretistic Theory of Depiction elaborates a new account on this matter by providing a theory of depiction that tries to combine the merits of the previous theories while dropping their defects. It is argued that a picture is a representation in a pictorial or figurative mode, and its 'figurativity' is given by a special perception, perceiving-in, (...)
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  24. added 2015-08-11
    John Sellars (2014). Plato's Apology of Socrates, A Metaphilosophical Text. Philosophy and Literature 38:433-45.
    Plato’s Apology is not merely an account of Socrates’ trial, it is also a work of metaphilosophy, presenting Socrates’ understanding of the nature and function of philosophy. This is a vital part of the text’s apologetic task, for it is only with reference to Socrates’ understanding of what philosophy is that we can understand, and so justify, his seemingly antisocial behaviour. Plato presents to us Socrates’ metaphilosophy in two ways: via what Socrates says and what he does. This twofold method (...)
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  25. added 2015-08-06
    Ben Blumson, Fact, Fiction and Fantasy.
    This paper argues: (1) All knowledge from fiction is from imagination (2) All knowledge from imagination is modal knowledge (3) So, all knowledge from fiction is modal knowledge Moreover, some knowledge is from fiction, so (1)-(3) are non-vacuously true.
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  26. added 2015-08-06
    Jiri Benovsky (forthcoming). Aesthetic Appreciation of Landscapes. Journal of Value Inquiry.
    In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense has quite (...)
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  27. added 2015-08-06
    William D'Alessandro (forthcoming). Explicitism About Truth in Fiction. British Journal of Aesthetics.
    The problem of truth in fiction concerns how to tell whether a given proposition is true in a given fiction. Thus far, the nearly universal consensus has been that some propositions are ‘implicitly true’ in some fictions: such propositions aren’t expressed by any explicit statements in the relevant work (or works), but are nevertheless held to be true in those works on the basis of some other set of criteria. I call this family of views ‘implicitism’. I argue that implicitism (...)
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  28. added 2015-08-05
    Errol Lord (forthcoming). On the Rational Power of Aesthetic Testimony. British Journal of Aesthetics.
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  29. added 2015-08-04
    Catharine Abell (2015). II—Genre, Interpretation and Evaluation. Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  30. added 2015-08-04
    Jiri Benovsky (2015). Ben Blumson, Resemblance and Representation: An Essay in the Philosophy of Pictures, Cambridge: OpenBook Publishers, 2014, 206 Pp., £17.95 , ISBN 9781783740727. [REVIEW] Dialectica 69 (2):254-258.
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  31. added 2015-08-04
    John Gibson (2014). Narrative and the Literary Imagination. In Allen Speight (ed.), Narrative, Philosophy & Life. Springer 135-50.
    This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...)
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  32. added 2015-08-01
    T. Price Caldwell (2000). The Molecular Sememe: A Model for Literary Interpretation. Meisei Review 15:155-162.
    In this paper I propose to describe, in brief, a semiotic paradigm which results from the redefinition of the linguistic sign as a molecular sememe. Borrowing a tactic from Wittgenstein, I wish to use the game of chess as an analogy for the sake of describing what a molecular sememe is. Then I hope to use it further to sketch several implications of this semiotic paradigm for literary criticism and critical theory.
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  33. added 2015-07-31
    Carl Baker (forthcoming). An Absolutist Theory of Faultless Disagreement. Pacific Philosophical Quarterly.
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  34. added 2015-07-31
    Karen Simecek (2012). Hearing Meaning and Poetry: An Interview with Angela Leighton. Postgraduate Journal of Aesthetics 9 (3):3-14.
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  35. added 2015-07-30
    Jon Robson (forthcoming). Comics and Ethics. In F. Bramlett, R. Cook & A. Meskin (eds.), Routledge Companion to Comics and Graphic Novels. Routledge
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  36. added 2015-07-30
    Matthew Strohl (2015). Bailey, Julius. Philosophy and Hip‐Hop: Ruminations on a Postmodern Cultural Form. New York: Palgrave Macmillan, 2014, Xxii +196 Pp., $85.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (3):362-365.
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  37. added 2015-07-30
    Jonathan Gilmore (2015). Lamarque, Peter. The Opacity of Narrative. Lanham, Maryland: Rowman & Littlefield, 2014, Xv + 213 Pp., £19.95 Paper. [REVIEW] Journal of Aesthetics and Art Criticism 73 (3):349-351.
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  38. added 2015-07-30
    Jukka Mikkonen (2015). On Studying the Cognitive Value of Literature. Journal of Aesthetics and Art Criticism 73 (3):273-282.
    The debate on the cognitive value of literature is undergoing a change. On the one hand, several philosophers recommend an epistemological move from “knowledge” to “understanding” in describing the cognitive benefits of literature. On the other hand, skeptics call for methodological discussion and demand evidence for the claim that readers actually learn from literature. These two ideas, the notion of understanding and the demand for evidence, seem initially inconsistent, for the notion of understanding implies that the cognitive benefits of literature (...)
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  39. added 2015-07-30
    James Shelley (2015). When True Judges Differ: Reply to Durà‐Vilà. Journal of Aesthetics and Art Criticism 73 (3):345-348.
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  40. added 2015-07-30
    Charles Klayman (2015). Paul, Elliot Samuel and Scott Barry Kaufman, Eds. The Philosophy of Creativity: New Essays. Oxford University Press, 2014, X + 326 Pp., $49.95 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (3):365-367.
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  41. added 2015-07-30
    Jane Kneller (2015). SIMON, JULIA. Rousseau Among the Moderns: Music, Aesthetics, Politics. Pennsylvania State University Press, 2013, Xi + 227 Pp., $64.95 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (3):358-360.
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  42. added 2015-07-30
    Sarah Worth (2015). Matravers, Derek. Fiction and Narrative. Oxford University Press, 2014, Vii + 157 Pp., $55.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (3):351-353.
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  43. added 2015-07-30
    Daniel Wilson (2015). Mcmahon, Jennifer A. Art and Ethics in a Material World: Kant's Pragmatist Legacy. New York: Routledge, 2014, Xv + 234 Pp., 18 B&W Illus., $125.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (3):360-362.
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  44. added 2015-07-30
    Jennifer Judkins (2015). Margulis, Elizabeth Helmuth. On Repeat: How Music Plays the Mind. Oxford University Press, 2014, Xi + 204 Pp., $35.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (3):369-370.
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  45. added 2015-07-30
    Víctor Durà‐vilà (2015). Shelley on Hume's Standard of Taste and the Impossibility of Sound Disagreement Among the Ideal Critics. Journal of Aesthetics and Art Criticism 73 (3):341-345.
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  46. added 2015-07-30
    Dominic Mciver Lopes (2015). Aesthetic Experts, Guides to Value. Journal of Aesthetics and Art Criticism 73 (3):235-246.
    A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...)
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  47. added 2015-07-30
    Louise Hanson (2015). Conceptual Art and the Acquaintance Principle. Journal of Aesthetics and Art Criticism 73 (3):247-258.
    The Acquaintance Principle has been the subject of extensive debate in philosophical aesthetics. In one of the most recent developments, it has become popular to claim that some works of conceptual art are counterexamples to it. It is further claimed that this is a genuinely new problem in the sense that it is a problem even for versions of the Acquaintance Principle modified to deal with previous objections. I argue that this is essentially correct; however, the claim as it stands (...)
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  48. added 2015-07-30
    Fred Rush (2015). Hegel, Moderniste? Remarks on Robert Pippin's After the Beautiful. Journal of Aesthetics and Art Criticism 73 (3):312-318.
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  49. added 2015-07-30
    László Kajtár (2015). Herman, David. Storytelling and the Sciences of Mind. The MIT Press, 2013, Xiv + 428 Pp., $45.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (3):367-369.
  50. added 2015-07-30
    Kenneth Walden (2015). Art and Moral Revolution. Journal of Aesthetics and Art Criticism 73 (3):283-295.
    Traditionally, questions about the role of the arts in moral thought have focused on the arts’ role in the acquisition of new moral knowledge, the refinement of moral concepts, and the capacity to apply our moral view to particular situations. Here I suggest that there is an importantly different and largely overlooked role for the arts in moral thought: an ability to reconfigure the structure of our moral thought and effect what we might call a revolution in that framework. In (...)
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