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Siblings:History/traditions: Beauty
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  1. Jiri Benovsky (forthcoming). Against Aesthetic-Sensory Dependence. Nordic Journal of Aesthetics.
    In his book 'The metaphysics of beauty' Nick Zangwill argues for the claim that aesthetic properties metaphysically necessarily depend on sensory properties. This claim plays a role in his argument against physicalist aesthetic realism as well as in the formulation of his own response-dependence view. In this article, I offer reasons to resist the aesthetic/sensory dependence claim by a discussion of the case of theories, theorems, proofs, and similar theoretical objects, which do possess genuinely aesthetic properties, while these (...)
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  2. Franz Brentano (1959). Grundzüge der Ästhetik. Francke.
    Brentanos Schriften zur Ästhetik schließen eng an das Grundprinzip der Logik und Ethik, die unmittelbare Einsicht in die Richtigkeit eines Urteils bzw. einer Gemütstätigkeit an: Auch das Schöne wird mit unmittelbarer Evidenz als liebenswert erfahren und einsichtig vom Unschönen unterschieden.
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  3. M. Budd (2011). The Love of Art: More Than a Promise of Happiness. British Journal of Aesthetics 51 (1):81-88.
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  4. N. Chaipraditkul (2013). Thailand: Beauty and Globalized Self-Identity Through Cosmetic Therapy and Skin Lightening. Ethics in Science and Environmental Politics 13 (1):27-37.
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  5. Robert R. Clewis (2008). Greenberg, Kant, and Aesthetic Judgments of Modernist Art. AE: Canadian Aesthetics Journal 18.
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  6. Diarmuid Costello (2004). On Late Style: Arthur Danto’s the Abuse of Beauty. British Journal of Aesthetics 44 (4):424-439.
    cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...)
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  7. Rafael de Clercq, Aesthetic Properties.
    Paradigmatic aesthetic properties include beauty, elegance, gracefulness, harmony, balance, loveliness, prettiness, handsomeness, and unity, as well as their negative counterparts, for example, ugliness, clumsiness and disunity. The book investigates the nature, reality, and structure(s) of these properties. It also focuses on special cases such as rightness of architectural proportion, musical beauty, functional beauty, and the aesthetic properties that are responsible for our interest in ‘painful art’ (horror and tragedy). [Manuscript is currently undergoing revision.].
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  8. 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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  9. 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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  10. Rhett Diessner, Ravi Iyer, Meghan M. Smith & Jonathan Haidt (2013). Who Engages with Moral Beauty? Journal of Moral Education 42 (2):139-163.
    Aristotle considered moral beauty to be the telos of the human virtues. Displays of moral beauty have been shown to elicit the moral emotion of elevation and cause a desire to become a better person and to engage in prosocial behavior. Study 1 (N = 5380) shows engagement with moral beauty is related to several psychological constructs relevant to moral education, and structural models reveal that the story of engagement with moral beauty may be considered a story of love and (...)
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  11. Rhett Diessner, Teri Rust, Rebecca Solom, Nellie Frost & Lucas Parsons (2006). Beauty and Hope: A Moral Beauty Intervention. Journal of Moral Education 35 (3):301-317.
    Pedagogical intervention regarding engagement with natural, artistic and moral beauty can lead to an increase in trait hope. In a quasi-experimental design with college students the intervention group showed significantly higher gain scores on trait hope than did the comparison group; the effect size was moderate. The experimental group also experienced significantly larger increases with engagement with moral beauty ; the effect size was large. The discussion section focuses on integrating understanding beauty with moral education pedagogy, using a key element (...)
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  12. Andreas Dorschel (2011). Ein Versprechen von Glück. Neuere philosophische Studien über das Schöne. Philosophische Rundschau 58 (3):226 - 247.
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  13. C. E. Emmer (2007). The Flower and the Breaking Wheel: Burkean Beauty and Political Kitsch. International Journal of the Arts in Society 2 (1):153-164.
    What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows for (...)
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  14. Jeanne-Marie Gagnebin (2005). Do conceito de Darstellung em Walter Benjamin ou verdade e beleza. Kriterion: Journal of Philosophy 46 (112):183-190.
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  15. Berys Gaut (2010). Nehamas on Beauty and Love. British Journal of Aesthetics 50 (2):199-204.
    In Only a Promise of Happiness Alexander Nehamas holds that beauty is the object of love. I raise three objections to this claim when formulated in terms of personal love: love is too narrow in scope to be the attitude whose formal object is beauty; one can experience a person's beauty but have no love for her; and love is of particulars, not of attributes, however specific, such as beauty. A second kind of love, hedonic love, is too broad in (...)
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  16. William Hasker (2009). Beauty and Metaphysics. European Journal for Philosophy of Religion 1 (1):65 - 76.
    It is shown through examples ranging from Parmenides and Plato to Whitehead and Wittgenstein that beauty is central among the values that have made metaphysical theories appealing and credible. A common attitude would be that the aesthetic properties of metaphysical theories may be important for effective presentation but are irrelevant to the cognitive value of the theories. This however is question-begging, since it assumes without argument that ultimate reality is indifferent to ’value considerations’ such as beauty. If on the contrary (...)
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  17. Katherine Hawley (1997). Review of Beauty and Revolution in Science. [REVIEW] British Journal for the Philosophy of Science 48 (2):297-299.
    Review of Beauty and Revolution in Science, by JW McAllister.
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  18. Wolfgang Huemer (forthcoming). Brentano on Beauty and Aesthetics. In Uriah Kriegel (ed.), Routledge Companion to Brentano and the Brentano School. Routledge
    In his entire oeuvre Brentano defended a scientific conception of philosophy and advocated the adoption of a rigorous, scientific method. Given this background it might come as a surprise that in his reflections on aesthetics he firmly rejected the classic definition of aesthetics as the science of beauty. This must not be read as an expression of disinterest in – or a dismissal of – aesthetics, though. It is rather an expression of Brentano's view concerning the position of aesthetics in (...)
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  19. G. Katkov (1939). The Pleasant and the Beautiful. Proceedings of the Aristotelian Society 40:177 - 206.
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  20. Sheila Lintott (2003). Sublime Hunger: A Consideration of Eating Disorders Beyond Beauty. Hypatia 18 (4):65-86.
    : In this paper, I argue that one of the most intense ways women are encouraged to enjoy sublime experiences is via attempts to control their bodies through excessive dieting. If this is so, then the societal-cultural contributions to the problem of eating disorders exceed the perpetuation of a certain beauty ideal to include the almost universal encouragement women receive to diet, coupled with the relative shortage of opportunities women are afforded to experience the sublime.
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  21. Hans Maes (2009). Elephants, Microscopes and Free Beauty: Reply to Davies. Philosophical Quarterly 59 (235):332-336.
    According to Stephen Davies, there is no such thing as free beauty. Using actual and imaginary examples, he tries to show that our aesthetic evaluations of objects inevitably pay heed to the kinds to which they belong or in which we judge them to belong. His examples are not as compelling as he thinks, however. Furthermore, nature looked at through a microscope (or a telescope) provides us with a particular class of counter-examples which have not been dealt with by Davies (...)
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  22. Patrick Maynard (1996). Form. In The Grove Dictionary of Art. Macmillan
    'Doing an Aristotle' on Form: a highly compressed attempt to explain what we mean by the ambiguous term "form" in visual arts.
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  23. Rafe McGregor (2010). Hutcheson's Idea of Beauty and the Doomsday Scenario. Postgraduate Journal of Aesthetics 7 (1):13-23.
    Francis Hutcheson is generally accepted as producing the first systematic study of aesthetics, in the first treatise of An Inquiry into the Original of Our Ideas of Beauty and Virtue, initially published in 1725. His theory reflected the eighteenth century concern with beauty rather than art, and has drawn accusations of vagueness since the first critical response, by Charles Louis DeVillete in 1750. The most serious critique concerns the idea of beauty itself: whether it was simple or complex, and the (...)
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  24. Jennifer A. McMahon (2005). Beauty. In Berys Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics 2nd edition. Routledge 307-319.
    Beauty is evil, a surreptitious diversion of earthly delights planted by the devil, according to the third century theologian-philosopher Tertullian. Beauty is a manifestation of the divine on earth, according to another third century philosopher, Plotinus. Could these two really be talking about the same thing? That beauty evokes an experience of pleasure is probably the only point on which all participants in the continuing debate on beauty agree. But what kinds of pleasure one considers relevant to an experience of (...)
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  25. Khosrow Bagheri Noaparast & Mohammad Zoheir Bagheri Noaparast (2011). Aesthetic Formalism, Reactions and Solutions. Wisdom and Philosophy 6 (4):101-112.
    It seems necessary to introduce the basic concepts used in this article i.e. formalism, anti-formalism and moderate formalism. Formalists believe that the aesthetic appreciation of an art work generally involves an attentive awareness of its sensory or conceptual qualities and does not require knowledge about its non-perceptual properties. Anti-formalists on the hand hold that noon of the aesthetic properties in the work of art are formal. A number of philosophers have recently advocated a more moderate formalism. According to this view (...)
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  26. Venanzio Raspa (2013). Meinong on Aesthetic Objects and the Knowledge-Value of Emotions. Humana.Mente. Journal of Philosophical Studies 25:211-234.
    In this paper I trace a theoretical path along Meinong’s works, by means of which the notion of aesthetic object as well as the changes this notion undergoes along Meinong’s output will be highlighted. Focusing especially on "Über emotionale Präsentation", I examine, on the one hand, the cognitive function of emotions, on the other hand, the objects apprehended by aesthetic emotions, i.e. aesthetic objects. These are ideal objects of higher order, which have, even though not primarily, the capacity to attract (...)
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  27. Nick Riggle (forthcoming). On the Interest in Beauty and Disinterest. Philosophers' Imprint.
    Contemporary philosophical attitudes toward beauty are hard to reconcile with its importance in the history of philosophy. Philosophers used to allow it a starring role in their theories of autonomy, morality, or the good life. But today, if beauty is discussed at all, it is often explicitly denied any such importance. This is due, in part, to the thought that beauty is the object of “disinterested pleasure”. In this paper I clarify the notion of disinterest and develop (...)
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  28. Nick Riggle (2014). Beauty and Love. In Michael Kelly (ed.), Oxford Encyclopedia of Aesthetics. Oxford University Press
    A brief history, overview, and assessment of the thesis that beauty is the object of love.
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  29. Andrea Sauchelli (2014). Sibley on ‘Beautiful’ and ‘Ugly’. Philosophical Papers 43 (3):377-404.
    Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss an (...)
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  30. Andrea Sauchelli (2013). Functional Beauty, Perception, and Aesthetic Judgements. British Journal of Aesthetics 53 (1):41-53.
    The concept of functional beauty is analysed in terms of the role played by beliefs, in particular expectations, in our perceptions. After finding various theories of functional beauty unsatisfying, I introduce a novel approach which explains how aesthetic judgements on a variety of different kinds of functional objects (chairs, buildings, cars, etc.) can be grounded in perceptions influenced by beliefs.
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  31. Roger Scruton (2009). Beauty. Oxford University Press.
    Human Beauty 3. Natural Beauty 4. Everyday Beauty 5. Artistic Beauty 6. Taste and Order 7. Eros and Art 8. Sacred Beauty Notes and Further Reading.
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  32. J. Shelley (2011). Hume and the Value of the Beautiful. British Journal of Aesthetics 51 (2):213-222.
    Hume is plausibly interpreted as asserting that an artwork is beautiful if and only if it pleases ideal critics. Jerrold Levinson maintains that Hume's commitment to this biconditional gives rise to a problem that occurs neither to Hume nor to his any of his interpreters—the problem of explaining why you should care what pleases ideal critics if you are not one yourself. I argue that this problem arises only if you hold an empiricist theory of aesthetic value—that is, a theory (...)
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  33. Lars Spuybroek (2014). Charis and Radiance: The Ontological Dimensions of Beauty. In S. Van Tuinen (ed.), Giving and Taking: Antidotes to a Culture of Greed. 119-149.
  34. Lars Spuybroek (2012). The Ages of Beauty: Revisiting Hartshorne's Diagram of Aesthetic Values. In A. Mulder (ed.), Vital Beauty: Reclaiming Aesthetics in the Tangle of Technology and Nature. 32-63.
  35. Lars Spuybroek (2011). The Digital Nature of Gothic. In L. Spuybroek (ed.), Research & Design: Textile Tectonics. 8-41.
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  36. Lars Spuybroek (2011). The Sympathy of Things: Ruskin and the Ecology of Design. V2_NAI Publishers.
  37. Ryan West & Adam C. Pelser (2015). Perceiving God Through Natural Beauty. Faith and Philosophy 32 (3):293-312.
    In Perceiving God, William Alston briefly suggests the possibility of perceiving God indirectly through the perception of another object. Following recent work by C. Stephen Evans, we argue that Thomas Reid’s notion of “natural signs” helpfully illuminates how people can perceive God indirectly through natural beauty. First, we explain how some natural signs enable what Alston labels “indirect perception.” Second, we explore how certain emotions make it possible to see both beauty and the excellence of the minds behind beauty. Finally, (...)
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  38. Robert E. Wood (1992). Beauty and Holiness. Review of Metaphysics 45 (4):867-868.
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