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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. Marcia Allentuck (1962). A Note on Eighteenth-Century "Disinterestedness". Journal of Aesthetics and Art Criticism 21 (1):89-90.
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  2. 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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  3. Van Meter Ames (1945). Note on "A History of Esthetics". Journal of Aesthetics and Art Criticism 4 (1):26 - 28.
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  4. Meter Amevans (1945). Note on "a History of Esthetics". Journal of Aesthetics and Art Criticism 4 (1):26-28.
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  5. Meter Amevans (1941). The Function and Value of Aesthetics. Journal of Aesthetics and Art Criticism 1 (1):95-105.
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  6. A. MacC Armstrong (1989). The Interlacing of Philosophy and History of Art. British Journal of Aesthetics 29 (3):239-247.
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  7. 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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  8. 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 (which notion of science also includes the question of philology as philosophy). 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 (...)
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  9. 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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  10. Cyril Barret (1965). Medieval Art Criticism. British Journal of Aesthetics 5 (1):25-36.
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  11. C. Barrett (2005). Medieval Aesthetics. In Władysław Tatarkiewicz (ed.), History of Aesthetics. New York,Continuum.
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  12. 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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  13. 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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  14. 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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  15. Monroe C. Beardsley (1967). Aesthetics, History Of. In Paul Edwards (ed.), The Encyclopedia of Philosophy. New York, Macmillan. 1--18.
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  16. 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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  17. 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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  18. Arnold Berleant (1986). The Historicity of Aesthetics — I. British Journal of Aesthetics 26 (2):101-111.
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  19. Arnold Berleant (1986). The Historicity of Aesthetics - II. British Journal of Aesthetics 26 (3):195-203.
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  20. 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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  21. Bijoy H. Boruah (1988). Fiction and Emotion: A Study in Aesthetics and the Philosophy of Mind. Oxford University Press.
    Why do people respond emotionally to works of fiction they know are make-believe? Boruah tackles this question, which is fundamental aesthetics and literary studies, from a totally new perspective. Bringing together the various answers that have been offered by philosophers from Aristotle to Roger Scruton, he shows that while some philosophers have denied any rational basis to our emotional responses to fiction, others have argued that the emotions evoked by fiction are not real emotions at all. In response to this, (...)
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  22. Bernard Bosanquet (1966). A History of Aesthetic. New York, Humanities P..
    The present work is, therefore, primarily addressed to those who may find a philosophical interest in understanding the place and value of beauty in the system ...
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  23. Andrew Bowie (2009). Review of Lydia Goehr, Elective Affinities: Musical Essays on the History of Aesthetic Theory. [REVIEW] Notre Dame Philosophical Reviews 2009 (5).
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  24. Emily Brady (2007). Sublimity: The Non-Rational and the Irrational in the History of Aesthetics by Kirwan, James. Journal of Aesthetics and Art Criticism 65 (2):242–244.
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  25. Merle Elliott Brown (1966). Neo-Idealistic Aesthetics. Detroit, Wayne State University Press.
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  26. Robert Buch (2011). The Pathos of the Real: On the Aesthetics of Violence in the Twentieth Century. Johns Hopkins University Press.
    In praise of cruelty : Bataille, Kafka, and Ling-Chi -- Fragmentary description of a disaster : Claude Simon -- The resistance to pathos and the pathos of resistance : Peter Weiss -- Medeamachine : the "fallout" of violence in Heiner Müller -- Epilogue : Francis Bacon, or, The brutality of fact.
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  27. M. Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part 1: Natural Beauty. British Journal of Aesthetics 38 (1):1-18.
  28. Nicolas J. Bullot & Rolf Reber (2013). The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Science of Art Appreciation. Behavioral and Brain Sciences 36 (2):123-180.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  29. Edmunds V. Bunkše (2001). The Case of the Missing Sublime in Latvian Landscape Aesthetics and Ethics. Ethics, Place and Environment 4 (3):235 – 246.
    In perceptions of their landscapes the Latvians have denied the existence of the sublime, elevating rural and natural aspects as beautiful and good. While Latvian landscape aesthetics and ethics are based on the profound transformation of nature-landscape attitudes that occurred in Europe during the second half of the 18th century, when ideas of the beautiful, sublime, and the picturesque were debated, the existence of sublime characteristics within the borders of Latvia has not been recognized. In part the attitude derives from (...)
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  30. Zongqi Cai (ed.) (2004). Chinese Aesthetics: The Ordering of Literature, the Arts, and the Universe in the Six Dynasties. University of Hawai'i Press.
    This singular work presents the most comprehensive and nuanced studies available in any Western language of Chinese aesthetic thought and practice during the ...
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  31. Rebecca Bensen Cain (2012). Greek and Roman Aesthetics by Bychkov, Oleg V. And Anne Sheppard. Journal of Aesthetics and Art Criticism 70 (2):242-245.
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  32. Noel Carroll (2012). History and the Philosophy of Art. Journal of the Philosophy of History 5 (3):370-382.
    Abstract In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.
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  33. Frank P. Chambers (1963). The History of Art and the History of Taste. British Journal of Aesthetics 3 (3):234-236.
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  34. Andrew Chignell (2006). Beauty as a Symbol of Natural Systematicity. British Journal of Aesthetics 46 (4):406-415.
    I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .
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  35. J. M. Cocking (1991). Imagination: A Study in the History of Ideas. Routledge.
    Many writers have paid tribute to its power: Shakespeare urged his audiences to use it to create a setting; Hobbes asserted that "imagination and memory are but one thing;" for Wordsworth it was "the mightiest leveler known to moral world;" and to Baudelaire it represented "the queen of truth." Imagination as artistic, poetic, and cultural predicate remains one of the most influential ideas in the history of Western thought. It (...)
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  36. Rebecca Copenhaver (forthcoming). Thomas Reid on Aesthetic Perception. In Todd Buras & Rebecca Copenhaver (eds.), Mind, Knowledge and Action: Essays in Honor of Reid’s Tercentenary.
  37. Stephen Copley & Peter Garside (eds.) (1994). The Politics of the Picturesque: Literature, Landscape, and Aesthetics Since 1770. Cambridge University Press.
    The Picturesque (a set of theories, ideas, and conventions which grew up around the question of how we look at landscape) offers a valuable focus for new investigations into the literary, artistic, social, and cultural history of the late eighteenth and nineteenth centuries. This volume of essays by scholars from various disciplines in Britain and America incorporates a range of historically and theoretically challenging approaches to the topic. It covers the writers most closely identified with the exposition of the Picturesque (...)
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  38. Diarmuid Costello & Dominic Willsdon (eds.) (2008). The Life and Death of Images: Ethics and Aesthetics. Cornell University Press.
    From the 1970s to the early-1990s, the discourse surrounding aesthetics largely disappeared from the study of art history, theory and cultural studies. Claims for the aesthetic value of art-works were thought of as elitist and politically regressive. The 1990s witnessed a return to aesthetics, but one that stressed the independent claims of beauty, in reaction to its perceived suppression by ethical and political imperatives. However, beauty is just one aspect of the aesthetic. In recent years, increasing attention has been given (...)
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  39. Timothy M. Costelloe (2013). The British Aesthetic Tradition: From Shaftesbury to Wttgenstein. Cambridge University Press.
    Machine generated contents note: Introduction: a brief history of 'aesthetics'; Part I. The Age of Taste: 1. Internal sense theorists; 2. Imagination theorists; 3. Associationist theorists; Part II. The Age of Romanticism: 4. The picturesque; 5. Wordsworth and the early Romantics; 6. Victorian criticism; Part III. The Age of Analysis: 7. Theories of expression; 8. Wittgenstein and afterwards.
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  40. Timothy M. Costelloe (2004). Review of Peter Kivy, The Seventh Sense: Francis Hutcheson and Eighteenth-Century Aesthetics. [REVIEW] Notre Dame Philosophical Reviews 2004 (4).
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  41. Renée Cox (1990). A History of Music. Journal of Aesthetics and Art Criticism 48 (4):395-409.
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  42. Angela Curran (2012). Aristotle. In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. 21-33.
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  43. Carl Dahlhaus (1989). The Idea of Absolute Music. University of Chicago Press.
    With a characteristically broad and provocative treatment, Dahlhaus examines a single music-aesthetical idea from various historical and philosophical viewpoints. "Essential reading for anyone interested in the larger intellectual framework in which Romantic music found its place, a framework that to a remarkable degree has continued to shape our image of music."--Robert P. Morgan, Yale University Carl Dahlhaus (1928-1989) is the author of a highly influential body of works on the foundations of music history and aesthetics.
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  44. Whitney Davis (1993). Beginning the History of Art. Journal of Aesthetics and Art Criticism 51 (3):327-350.
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  45. Peter De Bolla (1989). The Discourse of the Sublime: Readings in History, Aesthetics, and the Subject. Basil Blackwell.
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  46. George Dickie (2005). The Origins of Beardsley's Aesthetics. Journal of Aesthetics and Art Criticism 63 (2):175 - 178.
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  47. T. J. Diffey (1985). Art and Goodness: Collingwood's Aesthetics and Moore's Ethics Compared. British Journal of Aesthetics 25 (2):185-198.
  48. John Dobson (2010). Aesthetic Style as a Postructural Business Ethic. Journal of Business Ethics 93 (3):393 - 400.
    The article begins with a brief history of aesthetic theory. Particular attention is given to the postructuralist ‘aesthetic return’: the resurgence of interest in aesthetics as an ontological foundation for human being-in-the-world. The disordered individual-as-emergent-artist-and-artifact, who is at the centre of this ‘aesthetic return’, is then translated into the ‘dis’-organization that is the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aesthetic relations between its disorganized self and (...)
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  49. Bohdan Dziemidok & Jean G. Harrell (1976). Tatarkiewicz and the History of Aesthetics. Journal of the History of Philosophy 14 (2):222-226.
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  50. Gary L. Ebersole (2005). Kamikaze, Cherry Blossoms, and Nationalisms: The Militarization of Aesthetics in Japanese History (Review). Philosophy East and West 55 (4):607-610.
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