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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2015-05-22
    Ken Wilder (2015). Vermeer: Interruptions, Exclusions, and ‘Imagining Seeing. Estetika: The Central European Journal of Aesthetics 52 (New Series: 8) (1):38-59.
    This article proposes an essential interrelatedness of Vermeer’s strategies of inclusion and exclusion of an implied beholder. I will argue that such strategies mutually reinforce each other, to the extent that the plausibility of one is arguably dependent upon the possibility of the other. This is evidenced by Vermeer’s subtle manipulations of pictorial space, and the article traces a decisive shift in his familiar use of barriers from those aimed at an external presence to those oriented towards an internal beholder. (...)
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  2. added 2015-05-22
    Iris Vidmar (2015). Alan H. Goldman, Philosophy and the Novel. Estetika: The Central European Journal of Aesthetics 52 (New Series: 8) (1):122-127.
    A review of Alan H. Goldman´s Philosophy and the Novel .
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  3. added 2015-05-22
    Simone Neuber (2015). Evaluative Beliefs in a Thought Theoretical Framework? A Proposal For Non-Positing Epistemic States. Estetika: The Central European Journal of Aesthetics 52 (New Series: 8) (1):23-37.
    Thought Theory seems to provide an answer to the paradox of fiction which has the ontological merits of current pretence accounts without, however, assuming mere pretence emotions. This article will question whether present formulations of TT live up to what they promise. Whenever its current versions try to include evaluative beliefs in a TT framework in order to comply with a cognitivist account of emotions, they either stop being a genuine thought theory or endorse the irrationalism of fictional emotions. This (...)
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  4. added 2015-05-22
    Miloš Ševčík (2015). Patočka’s Interpretations of Hegel’s Thesis on the Past Character of Art. Estetika: The Central European Journal of Aesthetics 52 (New Series: 8) (1):78-113.
    In his article ‘Art and Time’ Patočka argues that Hegel rightly recognized a fundamental difference between classical and contemporary art. In developing Hegel’s insight he offers a conception of two eras of art, the ‘artistic’ era and the era of ‘aesthetic culture’. Patočka supposes that artworks of both the artistic era and the aesthetic era always open up a certain ‘meaning’ that gives human existence its fundamental points of reference. The status of this world, however, radically changed from one era (...)
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  5. added 2015-05-22
    Malcolm Budd (2015). Nussbaum’s Virtual Musical Space. Estetika: The Central European Journal of Aesthetics 52 (New Series: 8) (1):60-77.
    A review essay on Charles O. Nussbaum´s The Musical Representation: Meaning, Ontology, and Emotion ; Cambridge, MA: MIT Press, 2013, xii + 388 pp. ISBN 978-0-262-51745-4 ).
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  6. added 2015-05-22
    Rafe McGregor (2015). Narrative Thickness. Estetika: The Central European Journal of Aesthetics 52 (New Series: 8) (1):3-22.
    The purpose of this article is to demonstrate that the experience of a literary narrative qua literary narrative is an experience of narrative thickness, that is, an experience in which narrative form and narrative content are inseparable. I explain my thesis of poetic thickness in § 1, showing why it does not admit of extension from poetry to literary narratives. §§ 2–3 synthesize the work of Derek Attridge and Peter Lamarque, advancing narrative thickness as a necessary condition of literary narratives. (...)
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  7. added 2015-05-22
    Alfred Gierer (2012). Mit Schiller gegen den "Egoismus der Vernunft". In preprint series, Max-Planck_Institute for the history of science. MPI for the History of Science. preprint 424, 1-22.
    Für uns Menschen gehört zum „guten Leben“, dass wir uns sowohl als Natur- wie auch als Kulturwesen nicht nur erkennen, sondern wirklich annehmen. Dazu spricht sich Schiller besonders für einen Vorrang der Empathie vor Grundsätzen der Vernunft und für eine ästhetisch begründete Lebenskunst aus. Mein Essay folgt solchen Denklinien in einer Sequenz der Abschnitte: Die Natur des Menschen – Dauerthema der Wissenschaft. Der Berufsdramatiker als Philosoph - Schillers Briefe zur ästhetischen Erziehung. Gegen den Egoismus der Vernunft, für den Vorrang der (...)
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  8. added 2015-05-22
    António Lopes (2007). O Valor de um Bach Autêntico: um estudo sobre o conceito de autenticidade na execução de obras musicais. Dissertation, University of Lisbon
    The concept of authenticity as a predicate of performances of musical works is discussed in the context of the Western classical tradition.I claim that the concept of a performance of a musical work raises issues of relativity and indeterminacy, since its application is not completely free from music-historical contextuality and from considerations of aesthetic value.I challenge the argument for the necessity of authenticity in performance that eschews the problem of determining the extension of the concept authentic performance of a work' (...)
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  9. added 2015-05-19
    Andreas Elpidorou (forthcoming). Seeing the Impossible. Journal of Aesthetics and Art Criticism.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections.
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  10. added 2015-05-19
    Jean-Pierre Cometti (2015). Making the Difference: John Dewey and the Naturalization of Aesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):123-134.
    The “Neuronal man”, as Changeux has called him, is now credited with an aesthetic mind. This mind is not the “Geist” of the philosophical tradition. The cognitive sciences have took over from philosophy and now they deal with art and aesthetics as they do with whatever aspect of human thought, experience and activity. Philosophers like Kant were interested in the empirical sources of beauty, but for him empirical features of its development did not change anything at all to its very (...)
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  11. added 2015-05-19
    Elisabeth Schellekens (2015). On The Rise of the Aesthetic Mind: Archaeology and Philosophy. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):113-122.
    Moving from a critical assessment of some recent attempts to define the arts in terms of adaptations, spandrels, by-products and, moreover, calling into question the continued development of the concept of the "aesthetic" in the frame of contemporary interdisciplinary research projects, the main aim of this paper is to highlight some of the ways in which archaeological objects can, at least in some respects, testify to the manifestation of the modern aesthetic mind.
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  12. added 2015-05-19
    Elio Franzini (2015). Phenomenology and Neuroaesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):135-145.
    Phenomenology is not the simple description of a fact, but rather the description of an intentional immanent moment, and it presents itself as a science of essences, and not of matter of facts. The Leib, the lived body of the phenomenological tradition, is not a generic corporeal reality, but rather an intentional subject, a transcendental reference point, on the base of which the connections between physical body and psychic body should be grasped. So, the reduction of empathy to mirror neurons (...)
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  13. added 2015-05-19
    Ellen Dissanayake & Fabrizio Desideri (2015). Foreword. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):3-4.
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  14. added 2015-05-19
    John L. Bell (2015). Reflections on Mathematics and Aesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):159-179.
    In this paper I reflect on the nature of mathematical beauty, and examine the connections between mathematics and the arts. I employ Plutarch’s distinction between the intelligible and the sensible, to compare the beauty of mathematics with the beauties of music, poetry and painting. While the beauty of mathematics is almost exclusively intelligible, and the beauties of these arts primarily sensible, it is pointed out that the latter share with mathematics a certain kind of intelligible beauty. The paper also contains (...)
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  15. added 2015-05-19
    Ellen Dissanayake (2015). Aesthetic Primitives”: Fundamental Biological Elements of a Naturalistic Aesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):6-24.
    Aesthetics, like other philosophical subjects, has historically made use of «top down» methods. Recent discoveries in genetics, evolutionary psychology, paleoarchaeology, and neuroscience call for a new «naturalistic» or «bottom up» perspective. Combining these fields with behavioral biology and ethnoarts studies, I offer seven premises that underlie a new understanding of evolved predispositions of the brain/mind that all artists use to attract attention, sustain interest, and create, mold, and shape emotion. I describe aesthetic «primitives» in somatic and behavioral modalities, suggesting that (...)
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  16. added 2015-05-19
    Giuseppe Vitiello (2015). The Aesthetic Experience as a Characteristic Feature of Brain Dynamics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):71-89.
    The brain constructs within itself an understanding of its surround which constitutes its own world. This is described as its Double in the frame of the dissipative quantum model of brain, where the perception-action arc in the Merleau-Ponty’s phenomenology of perception finds its formal description. In the dialog with the Double, the continuous attempt to reach the equilibrium shows that the real goal pursued by the brain activity is the aesthetical experience, the most harmonious “to-be-in-the-world” reached through reciprocal actions, the (...)
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  17. added 2015-05-19
    A. Cura di Mariagrazia Portera (2015). Reviews & Comments. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):181-203.
    Books Christy Mag Uidhir , Art andObjects [Elisa Caldarola, p. 182] • Julie Jaffee Nagel , Melodies of the Mind. Connections Between Psychoanalisis and Music [Michele Gardini, p. 185] • Dominic McIver Lopes , Beyond Art [Filippo Focosi, p. 187] • Annemarie Gethmann-Siefert , Herta Nagl-Docekal , Erzsébet Ròsza , Elisabeth Weisser-Lohmann , Hegels Ästhetik als Theorie der Moderne [Lorenzo Leonardo Pizzichemi, p. 190] Comments Toward an Integrated Science of Aesthetics. Getting Rid of the Main Misunderstandings in Evolutionary Aesthetics [Mariagrazia (...)
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  18. added 2015-05-19
    Fabio Martini (2015). Making «Art» in Prehistory: Signs and Figures of Metaphorical Paleolithic Man. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):41-52.
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  19. added 2015-05-19
    Salvatore Tedesco (2015). Aesthetic Mind; Homology; Innovation; Aesthetic Attitude; Darwinism. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):91-100.
    The concept of homology is the most solid theoretical basis elaborated by the morphological thinking during its history. The enucleation of some general criteria for the interpretation of homology is today a fundamental tool for life sciences, and for restoring their own opening to the question of qualitative innovation that arose so powerfully in the original Darwinian project. The aim of this paper is to verify the possible uses of the concept of compositional homology in order to provide of an (...)
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  20. added 2015-05-19
    Gianluca Consoli (2015). Early Art and the Evolution of Grounded Emotions. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):147-156.
    On the basis of a theoretical framework derived from grounded cognition and with reference to the available archaeological data concerning early art, this talk/article proposes an evolutionary conception of the aesthetic emotions, considered as an indispensable means that favored the emergence of the ordinary emotions in their modern version.
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  21. added 2015-05-19
    Lorenzo Bartalesi & Mariagrazia Portera (2015). Beyond the Nature-Culture Dichotomy: A Proposal for Evolutionary Aesthetics. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):101-111.
    Human aesthetic preferences towards a certain landscape type, a certain bodily traits of the opposite sex, a figurative style rather than another, are embedded in what we call “aesthetic experience”, a complex network of instinctive reactions, emotions, feelings, thoughts, and judgements. Are these preferences universal and species-specific, that is to say are they the same for every member of a particular species? Evolutionary psychologists advocate the universality and species-specificity of the aesthetic preferences. Going back to Darwin's writings, in particular to (...)
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  22. added 2015-05-19
    Neal A. Tognazzini (2015). The Strains of Involvement. In Randolph Clarke, Michael McKenna & Angela M. Smith (eds.), The Nature of Moral Responsibility. Oxford University Press. 19-44.
    Analytic philosophers have a tendency to forget that they are human beings, and one of the reasons that P. F. Strawson’s 1962 essay, “Freedom and Resentment”, has been so influential is that it promises to bring discussions of moral responsibility back down to earth. Strawson encouraged us to “keep before our minds...what it is actually like to be involved in ordinary interpersonal relationships”, which is, after all, the context in which questions about responsibility arise in the first place. In this (...)
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  23. added 2015-05-19
    Roberta Dreon (2015). Shared Aesthetic Starting Points? Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):53-69.
    Are there any theoretical resources – conceptual, lexical or argumentative ones – in the interdisciplinary debate on the evolutionary origins of the arts that can help us go beyond the traditional autonomistic conception of art, in favour of a more continuist and inclusive interpretation of human artistic practices? The paper examines the different voices in the debate, against the background of a cultural naturalist attitude inspired by John Dewey, by focusing on those contributions which can be interpreted in non-reductionist, anti-foundationalist (...)
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  24. added 2015-05-19
    Fabrizio Desideri (2015). Epigenesis and Coherence of the Aesthetic Mechanism. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 8 (1):25-40.
    Can we properly define and explain the human mind an aesthetic mind? The purpose of the paper is to answer this and the related questions that it implies. How do we understand the conceptual field of the aesthetic? What do we mean when we speak about an aesthetic experience or when we express an aesthetic judgement? The first move consists in shaping the outlines of the «aesthetic» as a cluster-concept. Having identified the conceptual core of aesthetic as an expressive synthesis (...)
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  25. added 2015-05-16
    Andrea Sauchelli (forthcoming). Gendler on the Puzzle of Imaginative Resistance. Acta Analytica:1-9.
    Gendler reformulated the so-called imaginability puzzle in terms of authorial breakdown. The main idea behind this move was to isolate the essential features displayed by the alleged problematic cases and to specify a puzzle general enough to be applied to a variety of different types of imaginative resistance. I offer various criticisms of Gendler’s approach to imaginative resistance that also raises some more general points on the recent literature on the topic.
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  26. added 2015-05-15
    Thomas J. Donahue & Paulina Ochoa Espejo (forthcoming). The Analytical–Continental Divide: Styles of Dealing with Problems. European Journal of Political Theory:1474885115585324.
    What today divides analytical from Continental philosophy? This paper argues that the present divide is not what it once was. Today, the divide concerns the styles in which philosophers deal with intellectual problems: solving them, pressing them, resolving them, or dissolving them. Using ‘the boundary problem’, or ‘the democratic paradox’, as an example, we argue for two theses. First, the difference between most analytical and most Continental philosophers today is that Continental philosophers find intelligible two styles of dealing with problems (...)
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  27. added 2015-05-13
    Seamus Mulryan & Stephanie Mackler (2015). The Existential Significance of Cinema in Educational Administration. Journal of Aesthetic Education 49 (2):1-19.
    This article considers the ramifications of the persistently negative representations of educational administrators in popular film and television. It begins with the argument that Hollywood’s pejorative portrayals of principals not only reflect something about what it already means to be an educational administrator, but they also serve a pedagogical role in creating educational administrators. While some scholarship in film studies and cultural studies aptly describe representations of educational administrators, much of this work relies on implicit philosophical assumptions that this article (...)
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  28. added 2015-05-11
    Emmanuel Alloa (2015). Could Perspective Ever Be a Symbolic Form? Revisiting Panofsky with Cassirer. Journal of Aesthetics and Phenomenology 2 (1):51-72.
    Erwin Panofsky’s essay “Perspective as Symbolic Form” from 1924 is among the most widely commented essays in twentieth-century aesthetics and was discussed with regard to art theory, Renaissance painting, Western codes of depiction, history of optical devices, psychology of perception, or even ophthalmology. Strangely enough, however, almost nothing has been written about the philosophical claim implicit in the title, i.e. that perspective is a symbolic form among others. The article situates the essay within the intellectual constellation at Aby Warburg’s Kulturwissenschaftliche (...)
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  29. added 2015-05-09
    Michalle Gal (2015). Aestheticism: Deep Formalism and the Emergence of Modernist Aesthetics. Peter Lang AG.
    This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers a uniquely synthetic (...)
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  30. added 2015-05-08
    Fabrice Teroni & Florian Cova, Le paradoxe de la fiction: le retour. L'expression des Émotions: Mélanges En l'Honneur de Patrizia Lombardo.
    Tullmann et Buckwalter (2014) ont récemment soutenu que le paradoxe de la fiction tenait plus de l’illusion que de la réalité. D’après eux, les théories contemporaines des émotions ne fourniraient aucune raison d’adopter une interprétation du terme « existence » qui rende les prémisses du paradoxe incompatibles entre elles. Notre discussion a pour but de contester cette manière de dissoudre le paradoxe de la fiction en montrant qu’il ne prend pas sa source dans les théories contemporaines des émotions. Bien plutôt, (...)
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  31. added 2015-05-07
    Andrea Baldini (2014). Historical Formalism in Music: Toward a Philosophical Theory of Musical Form. Contemporary Aesthetics 12:N/A.
    In this paper I begin to fashion a theory of musical form that I call historical formalism. Historical formalism posits that our perception of the formal properties of a musical work is informed by considerations not only of artistic categories but also of the historical, sociopolitical, and cultural circumstances within which that work was composed.
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  32. added 2015-05-02
    Bence Nanay (2015). Two‐Dimensional Versus Three‐Dimensional Pictorial Organization. Journal of Aesthetics and Art Criticism 73 (2):149-157.
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  33. added 2015-05-02
    John Kulvicki (2015). Maps, Pictures, and Predication. Ergo, an Open Access Journal of Philosophy 2.
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  34. added 2015-05-02
    Joerg Fingerhut (2014). Extended Imagery, Extended Access, Or Something Else? Pictures and the Extended Mind Hypothesis. In Marienberg & Trabant (eds.), Bildakt at the Warburg Institute. De Gruyter.
    This paper introduces pictures more generally into the discussion of cognition and mind. I will argue that pictures play a decisive role in shaping our mental lives because they have changed (and constantly keep changing) the ways we access the world. Focusing on pictures will therefore also shed new light on various claims within the field of embodied cognition. In the first half of this paper I address the question of whether, and in what possible ways, pictures might be considered (...)
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  35. added 2015-04-29
    Jessica J. Lee (2014). Aesthetics Beyond the Arts: New and Recent Essays. [REVIEW] British Journal of Aesthetics 54 (3):387-389.
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  36. added 2015-04-29
    Dominic Rahtz (2014). This Is Not Art: Activism and Other ‘Not-Art. [REVIEW] British Journal of Aesthetics 54 (3):390-392.
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  37. added 2015-04-29
    Dominic Rahtz (2014). This Is Not Art: Activism and Other ‘Not-Art. [REVIEW] British Journal of Aesthetics 54 (3):390-392.
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  38. added 2015-04-29
    Jessica J. Lee (2014). Aesthetics Beyond the Arts: New and Recent Essays. [REVIEW] British Journal of Aesthetics 54 (3):387-389.
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  39. added 2015-04-28
    Tatjana von Solodkoff (2014). Fictional Realism and Negative Existentials. In Manuel García-Carpintero & Genoveva Martí (eds.), Thinking and Talking about Nothing. Oxford University Press. 333-352.
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  40. added 2015-04-25
    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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  41. 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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  42. 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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  43. 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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  44. 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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  45. 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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  46. 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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  47. 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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  48. 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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  49. 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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  50. 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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