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Siblings:History/traditions: Beauty
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  1. 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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  2. 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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  3. 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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  4. 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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  5. 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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  6. 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.
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  7. 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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  8. Jeanne-Marie Gagnebin (2005). Do conceito de Darstellung em Walter Benjamin ou verdade e beleza. Kriterion 46 (112):183-190.
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  9. 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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  10. 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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  11. G. Katkov (1939). The Pleasant and the Beautiful. Proceedings of the Aristotelian Society 40:177 - 206.
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  12. 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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  13. 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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  14. 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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  15. 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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  16. 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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  17. 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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  18. 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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