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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2014-10-12
    Alison Reiheld, Gender Norms and Food Behaviors. Encyclopedia of Food and Agriculural Ethics.
    Food behaviors, both private and public, are deeply affected by gender norms concerning both masculinity and femininity. In some ways, food-centered activities constitute gender relations and identities across cultures. This entry provides a non-exhaustive overview of how gender norms bear on food behaviors broadly construed, focusing on three categories: food production, food preparation, and food consumption.
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  2. added 2014-10-12
    Alison Reiheld (2008). Feminism, Food, and the Politics of Home Cooking. American Philosophical Association Newsletter on Feminism and Philosophy 8 (1):19-20.
    In this paper, I argue the cooking is a fraught issue for women, and especially women who self-identify as feminist, because it is so deeply gendered.
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  3. added 2014-10-09
    Achille C. Varzi (2014). Realism in the Desert. In Massimo Dell’Utri, Fabio Bacchini & Stefano Caputo (eds.), Realism and Ontology without Myths. Cambridge Scholars Publishing. 16–31.
    Quine’s desert is generally contrasted with Meinong’s jungle, as a sober ontological alternative to the exuberant luxuriance that comes with the latter. Here I focus instead on the desert as a sober metaphysical alternative to the Aristotelian garden, with its tidily organized varieties of flora and fauna neatly governed by fundamental laws that reflect the essence of things and the way they can be, or the way they must be. In the desert there are no “natural joints”; all the boundaries (...)
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  4. added 2014-10-08
    Murray Smith (2014). Against Nature? Or, Confessions of a Darwinian Modernist. Royal Institute of Philosophy Supplement 75:151-182.
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  5. added 2014-10-08
    Jon Robson (2014). Aesthetic Autonomy and Self-Aggrandisement. Royal Institute of Philosophy Supplement 75:3-28.
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  6. added 2014-10-08
    Berys Gaut (2014). Mixed Motivations: Creativity as a Virtue. Royal Institute of Philosophy Supplement 75:183-202.
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  7. added 2014-10-08
    Gordon Graham (2014). Aesthetics as a Normative Science. Royal Institute of Philosophy Supplement 75:249-264.
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  8. added 2014-10-08
    Jenefer Robinson (2014). Aesthetic Disgust? Royal Institute of Philosophy Supplement 75:51-84.
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  9. added 2014-10-08
    Jonathan Gilmore (2014). The Epistemology of Fiction and the Question of Invariant Norms. Royal Institute of Philosophy Supplement 75:105-126.
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  10. added 2014-10-08
    Deena Skolnick Weisberg (2014). The Development of Imaginative Cognition. Royal Institute of Philosophy Supplement 75:85-103.
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  11. added 2014-10-08
    Matthew Kieran (2014). Creativity, Virtue and the Challenges From Natural Talent, Ill-Being and Immorality. Royal Institute of Philosophy Supplement 75:203-230.
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  12. added 2014-10-08
    Nigel Fabb (2014). The Verse-Line as a Whole Unit in Working Memory, Ease of Processing, and the Aesthetic Effects of Form. Royal Institute of Philosophy Supplement 75:29-50.
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  13. added 2014-10-08
    Roger Scruton (2014). Music and Cognitive Science. Royal Institute of Philosophy Supplement 75:231-247.
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  14. added 2014-10-08
    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 2014-10-01
    Aaron Smuts, How Much Should We Be Moved by the Fate of Anna Karenina?
    It is widely assumed that we can meaningfully talk about emotional reactions as being appropriate or inappropriate. Much of the discussion has focused on one kind of appropriateness, that of fittingness. An emotional response is appropriate only if it fits its object. For instance, fear only fits dangerous things. There is another dimension of appropriateness that has been relatively ignored — proportionality. For an emotional reaction to be appropriate not only must the object fit, the reaction should be of the (...)
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  16. added 2014-09-27
    Ben Blumson (2014). Symbol Systems. In Resemblance and Representation. Open Book Publishers. 85-98.
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  17. added 2014-09-27
    Ben Blumson (2014). Depiction and Intention. In Resemblance and Representation. Open Book Publishers. 51-66.
  18. added 2014-09-27
    Ben Blumson (2014). Resemblance and Representation. Open Book Publishers.
    It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is to (...)
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  19. added 2014-09-20
    Donald A. Landes (forthcoming). Expressive Bodies: Merleau-Ponty and Nancy on Painting and Ontology. Research in Phenomenology.
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  20. 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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  21. 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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  22. 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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  23. added 2014-09-12
    Mary Edwards (forthcoming). Philosophy and the Novel. British Journal of Aesthetics:ayu039.
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  24. added 2014-09-12
    Dominic McIver Lopes (forthcoming). Aesthetics of Interaction in Digital Art. British Journal of Aesthetics:ayu040.
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  25. added 2014-09-12
    Robert Stecker (forthcoming). Beyond Art. British Journal of Aesthetics:ayu041.
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  26. added 2014-09-12
    Daniel Wilson (forthcoming). Art and Abstract Objects. British Journal of Aesthetics:ayu020.
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  27. 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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  28. 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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  29. 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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  30. 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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  31. 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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  32. 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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  33. 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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  34. added 2014-08-21
    Robert Briscoe, Depiction, Pictorial Experience, and Vision Science.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience or ‘seeing-in’, to use Richard Wollheim’s familiar expression. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that seeing-in and seeing face-to-face are experiences of the same psychological, explanatory kind. (...)
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  35. 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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  36. 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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  37. 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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  38. added 2014-08-11
    James Andow (forthcoming). A Semantic Solution to the Problem with Aesthetic Testimony. Acta Analytica:1-8.
    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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  39. 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).
  40. added 2014-08-11
    Maarten Steenhagen (2014). Sehen Lassen: Die Praxis des Zeigens. British Journal of Aesthetics:ayu016.
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  41. added 2014-08-11
    Daniel Nolan & Alexander Sandgren (2014). Creationism and Cardinality. Analysis 74 (4):615-622.
    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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  42. 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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  43. 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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  44. added 2014-08-07
    Fiora Salis, Entidades Ficcionais. Compêndio Em Linha de Problemas de Filosofia Analítica.
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  45. 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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  46. 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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  47. 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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  48. 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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  49. 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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  50. 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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