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Summary This category contains books and articles related to the history of both aesthetics and the philosophy of art.  It includes works that deal directly with the history of the discipline, works that deal with aesthetic concepts as treated by different authors from a  historical perspective, and works that reflect upon the status of the disciple.
Key works While in other philosophical fields, as the general history of philosophy or the history of some other philosophical disciplines, there are a handful of works that could be cited as the key works in the discipline, in the history of aesthetics or of the philosophy of art, it is difficult to point them out. Nevertheless, it is usual to cite, Tatarkiewicz's History of Aesthetics as one of these, although his review of such history ends up in the 1700s. This means that his work ought to be completed with others that either focus in the later development of the discipline (missing, therefore, comprehensiveness) or that also try a full review of the historical development of the field. Among them, we find Beardsley's Aesthetics from Classical Greece to the Present: a short Introduction written from the perspective of analytical philosophy; Bosanquet's A History of Aesthetics originally published in 1892; Gilbert and Kuhn's A History of Esthetics published in 1939; and Aesthetics: The Key Thinkers edited by Alessandron Giovannelli, and very recent (2012).
Introductions Besides the works already mentioned above, any general encyclopedia on aesthetics serves as a good introduction to the problems addressed by the history of aesthetics and of the philosophy of art. In this sense, both Encyclopedia of Aesthetics and The Routledge Companion to Aesthetics can be considered as good starting points.
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  1. Aphrodite Alexandrakis & Nicholas J. Moutafakis (eds.) (2001). Neoplatonism and Western Aesthetics. State University of New York Press.
    Shows how the aesthetic views of Plotinus and later Neoplatonists have played a role in the history of Western art.
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  2. Marcia Allentuck (1962). A Note on Eighteenth-Century "Disinterestedness". Journal of Aesthetics and Art Criticism 21 (1):89-90.
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  3. Emmanuel Alloa (2013). Visual Studies in Byzantium. A Pictorial Turn Avant la Lettre. Journal of Visual Culture 12 (1):3-29.
    As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide the life and death of thousands. As this article seeks to argue, Byzantine thinking was not only attentive to conceptual differences, but also to iconic ones. The iconoclastic controversy (726-842 AD) arose from two different interpretations of the nature of images: whereas iconoclastic philosophy is based on the assumption of a :fundamental 'iconic identity', iconophile philosophy defends the idea of'iconic difference'. And while the (...)
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  4. Pedro Alzuru (2007). Ensayos En Estética Contemporánea. Digecex.
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  5. Van Meter Ames (1945). Note on "A History of Esthetics". Journal of Aesthetics and Art Criticism 4 (1):26 - 28.
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  6. Meter Amevans (1945). Note on "a History of Esthetics". Journal of Aesthetics and Art Criticism 4 (1):26-28.
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  7. Meter Amevans (1941). The Function and Value of Aesthetics. Journal of Aesthetics and Art Criticism 1 (1):95-105.
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  8. Anna Amrakhovna Amrakhova (2004). Kognitivnye Aspekty Interpretat͡sii Sovremennoĭ Muzyki: Na Primere Tvorchestva Azerbaĭdzhanskikh Kompozitorov. Ėlm.
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  9. Teti͡ana Andrushchenko (2007). Fenomen Estetychnoho: (Filosofsʹko-Istorychnyĭ Analiz). Znanni͡a Ukraïny.
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  10. Keith Ansell-Pearson (1994). Aesthetics and Subjectivity: From Kant to Nietzsche. History of European Ideas 18 (3):444-445.
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  11. Mark Antliff (2007). Avant-Garde Fascism: The Mobilization of Myth, Art, and Culture in France, 1909-1939. Duke University Press.
    Fascism, modernism and modernity -- The Jew as anti-artist : Georges Sorel and the aesthetics of the anti- Enlightenment -- La Cité française : Georges Valois, Le Corbusier and fascist theories of urbanism -- Machine primitives : Philippe Lamour and the fascist cult of youth -- Classical violence : Thierry Maulnier and the legacy of the Cercle Proudhon.
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  12. A. MacC Armstrong (1989). The Interlacing of Philosophy and History of Art. British Journal of Aesthetics 29 (3):239-247.
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  13. Andrew Ashfield & Peter De Bolla (eds.) (1996). The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory. Cambridge University Press.
    This collection of texts on the Sublime provides the historical context for the foundation and discussion of one of the most important aesthetic debates of the Enlightenment. The significance of the Sublime in the eighteenth century ranged across a number of fields - literary criticism, empirical psychology, political economy, connoisseurship, landscape design and aesthetics, painting and the fine arts, and moral philosophy - and has continued to animate aesthetic and theoretical debates to this day. However, the unavailability of many of (...)
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  14. Antony Aumann (2011). The ‘Death of the Author’ in Hegel and Kierkegaard: On Berthold’s 'The Ethics of Authorship'. Graduate Faculty Philosophy Journal 32 (2):435-447.
    In The Ethics of Authorship, Daniel Berthold depicts G. W. F. Hegel and Søren Kierkegaard as endorsing two postmodern principles. The first is an ethical ideal. Authors should abdicate their traditional privileged position as arbiters of their texts’ meaning. They should allow readers to determine this meaning for themselves. Only by doing so will they help readers attain genuine selfhood. The second principle is a claim about language. To wit, language cannot express an author’s thoughts. I argue that if the (...)
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  15. Babette Babich (2012). On Nietzsche's Judgment of Style and Hume's Quixotic Taste: On the Science of Aesthetics and "Playing" the Satyr. Journal of Nietzsche Studies 43 (2):240-259.
    "Homer and Classical Philology," Nietzsche's 1869 inaugural lecture at the University of Basel, addresses not only the history of the Homer question as a problem but also raises the question of the discipline of classical philology as science . Thematically, Nietzsche's first lecture as a professor of classical philology focuses on the significance of style as such. In this meta-scholarly context, the issue of scholarly discernment is explored in terms of aesthetic judgment, as a judgment of taste, a focus Nietzsche (...)
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  16. Jean Christophe Bailly (2005). Le Champ Mimétique. Seuil.
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  17. Leo Balet (1941). The History of Art of the Future. Journal of Aesthetics and Art Criticism 1 (2/3):42-62.
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  18. Andrea Balzola (2011). L'arte Fuori di Sé: Un Manifesto Per l'Età Post-Tecnologica. G. Feltrinelli.
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  19. Moshe Barasch (1990). Modern Theories of Art. New York University Press.
    In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and (...)
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  20. Moshe Barasch (1985/2000). Theories of Art. Routledge.
    In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship between scientific (...)
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  21. Cyril Barret (1965). Medieval Art Criticism. British Journal of Aesthetics 5 (1):25-36.
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  22. C. Barrett (2005). Medieval Aesthetics. In Władysław Tatarkiewicz (ed.), History of Aesthetics. New York,Continuum.
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  23. Michele Barrett (1992). Max Raphael and the Question of Aesthetics. In Stephen Regan (ed.), The Politics of Pleasure: Aesthetics and Cultural Theory. Open University Press. 33--58.
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  24. Kevin Barry (1987). Language, Music, and the Sign: A Study in Aesthetics, Poetics, and Poetic Practice From Collins to Coleridge. Cambridge University Press.
    Originally published in 1987, this book forms a conceptual account of the relationship between music and poetry in the late eighteenth and early nineteenth ...
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  25. Christopher Bartel (2004). Is Art Good for Us? Beliefs About High Culture in American Life. British Journal of Aesthetics 44 (1):93-96.
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  26. Karen-Edis Barzman (1994). Beyond the Canon: Feminists, Postmodernism, and the History of Art. Journal of Aesthetics and Art Criticism 52 (3):327-339.
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  27. Monroe C. Beardsley (1975). Aesthetics From Classical Greece to the Present: A Short History. University of Alabama Press.
    The author examines all major aspects of Western aesthetic thought, and a third of the book focuses specifically on 19th-and-20th century aesthetic theory.
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  28. Monroe C. Beardsley (1967). Aesthetics, History Of. In Paul Edwards (ed.), The Encyclopedia of Philosophy. New York, Macmillan. 1--18.
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  29. P. Beilharz (2004). Francis Davis, The History of the Blues: The Roots, the Music, the People. Thesis Eleven 79:140.
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  30. Peter Beilharz (2004). Book Review: The History of the Blues: The Roots, the Music, the People. [REVIEW] Thesis Eleven 79 (1):140-142.
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  31. Frederick C. Beiser (2009). Diotima's Children: German Aesthetic Rationalism From Leibniz to Lessing. Oxford University Press.
    Diotima's Children is a re-examination of the rationalist tradition of aesthetics which prevailed in Germany in the late seventeenth and eighteenth century.
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  32. Peter Bekes (1978). Aesthetics and History. Investigations of the Connection of the Foundations of Art, Society, and Science. Philosophy and History 11 (1):40-42.
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  33. Andrew E. Benjamin (1993). The Body. Monograph Collection (Matt - Pseudo).
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  34. Andrew E. Benjamin, Peter Osborne & Institute of Contemporary Arts (1991). Thinking Art Beyond Traditional Aesthetics. Monograph Collection (Matt - Pseudo).
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  35. Ian Bent (1992). History of Music Theory: Margin or Center? Theoria 6:1-21.
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  36. Arnold Berleant (2005). Re-Thinking Aesthetics Rogue Essays on Aesthetics and the Arts. Monograph Collection (Matt - Pseudo).
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  37. Arnold Berleant (1992). Basic Issues In Aesthetics. Idealistic Studies 22 (3):222-223.
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  38. Arnold Berleant (1986). The Historicity of Aesthetics — I. British Journal of Aesthetics 26 (2):101-111.
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  39. Arnold Berleant (1986). The Historicity of Aesthetics - II. British Journal of Aesthetics 26 (3):195-203.
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  40. Charles Bernheimer (2002). Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin De Siècle in Europe. Johns Hopkins University Press.
    Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term. Decadent Subjects is a coherent and moving picture of fin de siècle decadence. Mature, ironic, iconoclastic, and thoughtful, this remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why (...)
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  41. David Bindman (2002). Ape to Apollo: Aesthetics and the Idea of Race in the 18th Century. Cornell University Press.
    Ape to Apollo is the first book to follow the development in the eighteenth century of the idea of race as it shaped and was shaped by the idea of aesthetics.
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  42. Timothy Binkley (1998). Encyclopedia of Aesthetics.
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  43. George David Birkhoff (1932). A Mathematical Theory of Aesthetics and its Application to Poetry and Music a Course of Lectures, Under the Auspices of the Rice Institute Lectureship in Music, Delivered in the Physics Amphitheater, January 4, 5, and 6, 1932. [REVIEW] [Rice Institute,].
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  44. Paul Bishop (2007). Analytical Psychology and German Classical Aesthetics: Goethe, Schiller & Jung. Routledge.
    Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung , volume 1, The Development of the Personality investigates the extent to which analytical psychology draws on concepts found in German classical aesthetics. It aims to place analytical psychology in the German-speaking tradition of Goethe and Schiller, with which Jung was well acquainted. This volume argues that analytical psychology appropriates many of its central notions from German classical aesthetics, and that, when seen in its intellectual historical context, the true originality (...)
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  45. Tina Waldeier Bizzarro (1994). Architecture in the Culture of Early Humanism. Ethics, Aesthetics, and Eloquence 1400–1470. History of European Ideas 18 (4):629-630.
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  46. David Boersema (2012). Philosophy of Art: Aesthetic Theory and Practice. Westview Press.
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  47. Gernot Böhme (1993). Atmosphere as the Fundamental Concept of a New Aesthetics. Thesis Eleven 36 (1):113-126.
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  48. Monika Bokiniec, Adrián Kvokačka, Zoltán Papp & Jakub Stejskal (2012). New Publications (Aesthetics in Central Europe). Estetika 49 (1):109-115.
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  49. I. A. Bondarevsʹka (2005). Paradoksalʹnistʹ Estetychnoho V Ukraïnsʹkiĭ Kulʹturi Xvii-Xviii Stolitʹ. Parapan.
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  50. Mark Evan Bonds (2014). Absolute Music: The History of an Idea. Oup Usa.
    In Absolute Music: The History of an Idea, author Mark Evan Bonds examines how writers have struggled to isolate the essence of music in ways that account for its profound effects on the human spirit. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to twentieth-century America, Bonds provides the first comprehensive history of this pivotal concept, and provokes new thoughts on the essence of music and how this essence explains music's effect. A long (...)
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