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Aesthetics

Edited by Rafael De Clercq (Lingnan University)
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  1. added 2015-04-20
    Julian Baggini (2014). The Pleasures of the Table. The Philosophers' Magazine 65:68-74.
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  2. added 2015-04-19
    David A. White (1972). Husserl and the Poetic Consciousness. Pacific Philosophical Quarterly 53 (4):408.
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  3. added 2015-04-18
    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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  4. added 2015-04-17
    Guy Rohrbaugh (2012). Must Ontological Pragmatism Be Self-Defeating? In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. 29-48.
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  5. added 2015-04-16
    Geoffrey Belknap (forthcoming). William Henry Fox Talbot. Beyond Photography: A Review. Studies in History and Philosophy of Science Part A.
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  6. added 2015-04-15
    Amy Kind (ed.) (forthcoming). Routledge Handbook of the Philosophy of Imagination. Routledge.
  7. added 2015-04-13
    Robert Hopkins (forthcoming). Sartre. In Amy Kind (ed.), Routledge Handbook of the Philosophy of Imagination. Routledge.
    In The Imaginary Sartre offers a systematic, insightful and heterodox account of imagining in many forms. Beginning with four ‘characteristics’ he takes to capture the phenomenology of imagining, he draws on considerations both philosophical and psychological to describe the deeper nature of the state that has those features. The result is a view that remains the most potent challenge to the Humean orthodoxy that to this day dominates both philosophical and psychological thinking on the topic.
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  8. added 2015-04-12
    José Ortega Y. Gasset (1914). Meditaciones del Quijote: Meditación preliminar, meditación primera. Residencia de Estudiantes.
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  9. added 2015-04-11
    Derek Allan, Analytic Aesthetics and the Dilemma of Timelessness.
    The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at obvious variance with our experience of the art of the past. Analytic aesthetics avoids examining this key problem because it confines its attention to issues such as the nature of aesthetic pleasure, whether the appreciation of art should (...)
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  10. added 2015-04-11
    José Ortega Y. Gasset (2009). Over kunstkritiek. Nexus 52:123-128.
    In een tafelrede, uitgesproken in 1925, wijst de Spaanse filosoof José Ortega y Gasset zijn vriend, kunstcriticus Juan de la Encina, op de problemen waar een criticus voor komt te staan in de moderne tijd. De criticus heeft niet langer de beschikking over een vaste code aan de hand waarvan hij de kwaliteit van een kunstwerk kan bepalen. In plaats daarvan ziet hij zich geconfronteerd met een verandering die zich in de opvattingen van de mensen heeft voorgedaan. In de huidige (...)
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  11. added 2015-04-09
    Noël Carroll (2015). Defending the Content Approach to Aesthetic Experience. Metaphilosophy 46 (2):171-188.
    This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.
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  12. added 2015-04-09
    Rafael De Clercq (2015). The Aesthetics of Design, by Jane Forsey. Mind 124 (494):627-630.
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  13. added 2015-04-07
    Moshe Shai Rachmuth (2015). Laughter and the Death of the Comic: Charlie Chaplin's The Circus and Limelight in Light of the Ethics of Emmanuel Levinas. Film-Philosophy 19:15-32.
    Using the work of Emmanuel Levinas, this article sheds light on Charlie Chaplin's The Circus , a piece that so far eluded the critics, despite its immense popularity with theater viewers. I show that it is not Chaplin's lack of inventiveness that makes the Tramp risk his life on the tightrope 'for nothing'. It is, on the contrary, Chaplin's intuitive sense that makes him believe, anticipating Levinas, that it is human and simple for a person to help another for no (...)
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  14. added 2015-04-07
    Chelsey Crawford (2015). The Permeable Self: A Theory of Cinematic Quotation. Film-Philosophy 19:105-123.
    This essay seeks to define and conceptualize cinematic quotation against scholarship that positions the auteur as the locus of meaning for a given film, especially with respect to any intertextual references. By troubling a reliance on frameworks of pathological, singular control and revealing their inability to define the specific characteristics of quotation - beyond merely thinking of it as one form of allusion or intertextuality - this essay argues that an ontological friction is inherent to instances of cinematic quotation. By (...)
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  15. added 2015-04-07
    Davide Panagia (2015). Films Blancs : Luminosity in the Films of Michael Mann. Film-Philosophy 19:33-54.
    This paper is a study of the place of luminosity in the films of Michael Mann and the way in which luminosity is not a tool of illumination but a radiance that signals the bodying forth of appearances. The event of luminosity in Mann's films is an attempt to re-imagine the conventional value structures that create a link between film and indexicality, as if his admiration for the photoreal effects of film belies an insistence that the advenience of an appearance (...)
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  16. added 2015-04-07
    Jan Simons (2015). Anti-Christ : Tragedy, Farce or Game? Film-Philosophy 19:1-15.
    Lars von Trier's movies can be seen as a series of iterations in an infinitely repeated prisoner's dilemma. After testing the logic of this game, at the core of which is the dilemma of cooperation or conflict, at the middle level at which an individual confronts a community up till Dogville, he has transposed the game to the level of social systems in Manderlay and the level of the minimal social unit, the couple in Anti-Christ. The story is the Oedipus (...)
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  17. added 2015-04-07
    Brandon White (2015). Trying Truths: Dreyer, Bresson and the Meaning Effect. Film-Philosophy 19:67-84.
    This essay explores the relationship between fact and faith developed by two cinematic representations of the trial and execution of Joan of Arc: Carl Theodor Dreyer's The Passion of Joan of Arc and Robert Bresson's The Trial of Joan of Arc . Both films are preoccupied with how to present evidence - the proof of Joan's supposedly divine visions - that is ultimately unverifiable, and turn this epistemological problem into their chief aesthetic concern. Through readings of Aquinas, Susan Sontag, and (...)
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  18. added 2015-04-07
    Sarah Dillon (2015). Cinematic Incorporation: Literature in My Life Without Me. Film-Philosophy 19:55-66.
    This essay considers the relationship between literature and film through a reading of Isabel Coixet's film My Life Without Me . The first half of the essay explores how two recent theorisations of the term incorporation allow us to read, on the one hand, the film's relationship to Nanci Kincaid's short story 'Pretending the Bed is a Raft' in particular and to literature in general and, on the other, the narrative consequences of the protagonist Ann's decision to keep her terminal (...)
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  19. added 2015-04-06
    Min Xu (forthcoming). The Creator-Determining Problem and Conjunctive Creationism About Fictional Characters. Dialogue:1-14.
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  20. added 2015-04-06
    Martti Koskenniemi (forthcoming). Law’s Aesthetic Will It Save Us? Philosophy and Social Criticism:0191453715576770.
    The article reviews Hauke Brunkhorst’s new book on the critical theory of revolutions.
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  21. added 2015-04-06
    Andrew Benjamin (2015). Art's Philosophical Work. Rowman & Littlefield International.
    World-leading philosopher Andrew Benjamin presents a radically new materialist philosophy of art and a rethinking of the history of art in that context.
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  22. added 2015-04-06
    Katya Mandoki (2015). The Indispensable Excess of the Aesthetic: Evolution of Sensibility in Nature. Lexington Books.
    This book offers a compelling account of the evolution of sensibility, weaving together Darwinian and biosemiotic theory. It works along non-anthropomorphic aesthetics of the appreciation and creation of beauty in nature as an end in itself which has practical benefit.
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  23. added 2015-04-06
    Jane Bennett (2015). Encounters with an Art-Thing. Evental Aesthetics 3 (3):91-110.
    What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...)
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  24. added 2015-04-06
    Celestine Chukwuemeka Mbaegbu (2015). The Effective Power of Music in Africa. Open Journal of Philosophy 5 (3):176-183.
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  25. added 2015-04-06
    Lea Ypi (2015). Two Pictures of Nowhere. Philosophy and Social Criticism 41 (3):219-223.
    This article critically engages with Rainer Forst’s recent book Justification and Critique: Towards a Critical Theory of Politics, focusing in particular on his account of utopia in the last part of it.
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  26. added 2015-04-06
    Thomas Padiyath (2014). Appreciation. In , The Metaphysics of Becoming: On the Relationship Between Creativity and God in Whitehead and Supermind and Sachchidananda in Aurobindo. De Gruyter.
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  27. added 2015-04-06
    Jennifer Neville (2014). Redeeming Beowulf. The Heroic Idiom as Marker of Quality in Old English Poetry. In Heike Sahm & Victor Millet (eds.), Narration and Hero: Recounting the Deeds of Heroes in Literature and Art of the Early Medieval Period. De Gruyter. 45-70.
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  28. added 2015-04-06
    Nicolai Hartmann (2014). First Section: The Aesthetic Values. In , Aesthetics. De Gruyter. 347-391.
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  29. added 2015-04-06
    Eva Maria Wilden (2014). Literature. In , Manuscript, Print and Memory: Relics of the Cankam in Tamilnadu. De Gruyter. 418-432.
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  30. added 2015-04-06
    Nicolai Hartmann (2014). Second Section: The Sublime and the Charming. In , Aesthetics. De Gruyter. 392-445.
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  31. added 2015-04-06
    Nicolai Hartmann (2014). Second Section: Aesthetic Form. In , Aesthetics. De Gruyter. 237-292.
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  32. added 2015-04-06
    Nicolai Hartmann (2014). Second Section: The Structure of the Aesthetic Object. In , Aesthetics. De Gruyter. 82-141.
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  33. added 2015-04-06
    John Kaag (2013). Merely” Aesthetic: The Centrality of Aesthetic Judgments of Taste. In Margit Ruffing, Claudio La Rocca, Alfredo Ferrarin & Stefano Bacin (eds.), Kant Und Die Philosophie in Weltbürgerlicher Absicht: Akten des Xi. Kant-Kongresses 2010. De Gruyter. 107-118.
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  34. added 2015-04-06
    Marjolijn Bol (2013). Seeing Through the Paint. The Dissemination of Technical Terminology Between Three Métiers: Pictura Translucida, Enameling and Glass Painting. In Andreas Speer (ed.), Zwischen Kunsthandwerk Und Kunst: Die ,Schedula Diversarum Artium'. De Gruyter. 145-162.
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  35. added 2015-04-06
    Bart Vandenabeele (2013). Disinterested Pleasure and the Universal Voice of Beauty: Kant’s Response to Burke. In Margit Ruffing, Claudio La Rocca, Alfredo Ferrarin & Stefano Bacin (eds.), Kant Und Die Philosophie in Weltbürgerlicher Absicht: Akten des Xi. Kant-Kongresses 2010. De Gruyter. 311-324.
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  36. added 2015-04-06
    Frederik Stjernfelt (2012). How Do Pictures Act?: Two Semiotic Aspects of Picture Activity. In Markus Rath & Ulrike Feist (eds.), Et in Imagine Ego: Facetten von Bildakt Und Verkörperung. Akademie Verlag. 19-26.
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  37. added 2015-04-06
    Avishai Margalit (2009). 1. Two Pictures of Political Compromise. In , On Compromise and Rotten Compromises. Princeton University Press. 19-38.
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  38. added 2015-04-06
    Jan Albert van Laar, Commentary on Walton.
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  39. added 2015-04-06
    Raymond Geuss (2009). 11. Poetry and Knowledge. In , Outside Ethics. Princeton University Press. 184-205.
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  40. added 2015-04-06
    Stefan Ditzen (2008). Breaking, Grinding, Burning: Instrumental Aspects in Early Microscopical Pictures. In Jan Lazardzig, Ludger Schwarte & Helmar Schramm (eds.), Theatrum Scientiarum - English Edition, Volume 2, Instruments in Art and Science: On the Architectonics of Cultural Boundaries in the 17th Century. De Gruyter. 334-347.
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  41. added 2015-04-06
    Derek Allen, Commentary on Walton & Godden.
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  42. added 2015-04-06
    Nicholas Rescher (2006). Chapter 5 on the Ways and Vagaries of Fiction. In , Studies in Epistemology. De Gruyter. 79-106.
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  43. added 2015-04-06
    Joseph Eger & Albert Einstein (2005). Einstein's Violin a Conductor's Notes on Music, Physics, and Social Change.
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  44. added 2015-04-06
    John Milbank, Graham Ward & Edith Wyschogrod (2003). Theological Perspectives on God and Beauty.
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  45. added 2015-04-06
    Gregory Bassham & Eric Bronson (2003). The Lord of the Rings and Philosophy One Book to Rule Them All.
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  46. added 2015-04-06
    J. K. Randall & Benjamin Boretz (2003). Being About Music Textworks 1960-2003.
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  47. added 2015-04-06
    David Rothenberg (2002). Sudden Music Improvisation, Sound, Nature.
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  48. added 2015-04-06
    Agnes Heller (2002). The Time is Out of Joint Shakespeare as Philosopher of History.
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  49. added 2015-04-06
    Paul Smith & Carolyn Wilde (2002). A Companion to Art Theory.
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  50. added 2015-04-06
    E. H. Gombrich (2002). The Preference for the Primitive Episodes in the History of Western Taste and Art.
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1 — 50 / 3388