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  1. Lars Aagaard-Mogensen (1982). Arts and Ends. Journal of Aesthetics and Art Criticism 41 (2):215-217.
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  2. A. Berleant (1978). Aesthetic Paradigms for an Urban Ecology. Diogenes 26 (103):1-28.
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  3. Brian Bruya (2004). Aesthetic Spontaneity: A Theory of Action Based on Affective Responsiveness. Dissertation, University of Hawai'i
    The major claims of this dissertation are that there is a discrete mode of action that we can identify as spontaneity, that spontaneity in this sense is fundamentally based on affectivity, and that it is most accurately described as aesthetic spontaneity. Aesthetic spontaneity is a mode of action overlooked in Western philosophy but prized and cultivated in Far Eastern thought and lately described in detail by psychologists. The qualifier "aesthetic" is added to "spontaneity" to distinguish it from the spontaneity often (...)
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  4. Brian Bruya (2003). Li Zehou's Aesthetics as a Marxist Philosophy of Freedom. Dialogue and Universalism 13 (11-12):133-140.
    After being largely unknown to non-siniphone philosophers, Li Zehou's ideas are gradually being translated into English, but very little has been done on his aesthetics, which he says is the key to his oeuvre. In the first of three sections of this paper, I briefly introduce the reader to Kant's aesthetics through Li's eyes, in which he develops an implicit notion of aesthetic freedom as political vehicle through the notions of subjectivity, universalization, and the unity of the cognitive faculties. In (...)
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  5. Brian Bruya (2002). Chaos as the Inchoate: The Early Chinese Aesthetic of Spontaneity. In Grazia Marchianò (ed.), Aesthetics & Chaos: Investigating a Creative Complicity.
    Can we conceive of disorder in a positive sense? We organize our desks, we discipline our children, we govern our polities--all with the aim of reducing disorder, of temporarily reversing the entropy that inevitably asserts itself in our lives. Going all the way back to Hesiod, we see chaos as a cosmogonic state of utter confusion inevitably reigned in by laws of regularity, in a transition from fearful unpredictability to calm stability. In contrast to a similar early Chinese notion of (...)
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  6. Noel Carroll & John Gibson (eds.) (2011). Narrative, Emotion, and Insight. Penn state university.
    While narrative has been one of the liveliest and most productive areas of research in literary theory, discussions of the nature of emotional responses to art and of the cognitive value of art tend to concentrate almost exclusively on the problem of fiction: How can we emote over or learn from fictions? Narrative, Emotion, and Insight explores what would happen if aestheticians framed the matter differently, having narratives—rather than fictional characters and events—as the object of emotional and cognitive attention. The (...)
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  7. Clive Cazeaux (2012). Sensation as Participation in Visual Art. Aesthetic Pathways 2 (2):2-30.
    Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...)
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  8. Thomas Richard Fahy (ed.) (2010). The Philosophy of Horror. University Press of Kentucky.
    Inviting readers to ponder this genre's various manifestations since the late 1700s, this collection of probing essays allows fans and philosophy buffs alike to ...
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  9. Elisa Galgut (2009). Tragedy and Reparation. In Pedro Alexis Tabensky (ed.), The Positive Function of Evil. Palgrave Macmillan.
    The Kleinian psychoanalyst Hanna Segal argues for the reparative nature of art, and especially of the genre of classical tragedy. According to Kleinian theory, healthy psychological development requires that early infantile aggressive and destructive emotions are worked through; such “working through” is necessary for the development of conscience, for feelings of empathy, as well as for cognitive development. It is also a necessary condition for creative activity. Segal examines the roots of the impulse to create by looking specifically at the (...)
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  10. Peter Gena (2012). Apropos Sonification: A Broad View of Data as Music and Sound. AI and Society 27 (2):197-205.
    Numbers have been identified with symbolic data forever. The profound association of both with acoustics, music, and sonic art from Pythagoras to current work is beyond reproach. Recently, sonification looks for ways to realize symbolic data (representing results or measurements) as well as “raw” data (signals, impulses, images, etc.) into compositions. In the strictest sense, everything in a computer is symbolic, that is, represented by 0s and 1s. In the arts, the digital age has broadened and enhanced the conceptual landscape (...)
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  11. K. E. Gover (2011). Artistic Freedom and Moral Rights in Contemporary Art: The Mass MoCA Controversy. Journal of Aesthetics and Art Criticism 69 (4):355-365.
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  12. Lisa Heldken (2002). Book Review: Carolyn Korsmeyer. Making Sense of Taste. Ithaca: Cornell University Press, 1999. [REVIEW] Hypatia 17 (3):283-286.
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  13. Eileen John (2012). Beauty, Interest, and Autonomy. Journal of Aesthetics and Art Criticism 70 (2):193-202.
  14. Horace Meyer Kallen (1913). Art, Philosophy, and Life. International Journal of Ethics 24 (1):37-54.
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  15. Andrew Mcgonigal (2011). Philosophical Perspectives on Art by Davies, Stephen. Journal of Aesthetics and Art Criticism 69 (2):231-233.
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  16. Daniéle Moyal-Sharrock (2009). The Fiction of Paradox: Really Feeling for Anna Karenina. In Ylva Gustafsson, Camilla Kronqvist & Michael McEachrane (eds.), Emotions and Understanding: Wittgensteinian Perspectives. Palgrave Macmillan.
    How is it that we can be moved by what we know does not exist? In this paper, I examine the so-called 'paradox of fiction', showing that it fatally hinges on cognitive theories of emotion such as Kendall Walton's pretend theory and Peter Lamarque's thought theory. I reject these theories and acknowledge the concept-formative role of genuine emotion generated by fiction. I then argue, contra Jenefer Robinson, that this 'éducation sentimentale' is not achieved through distancing, but rather through the engagement (...)
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  17. Amy Mullin (1996). Art, Politics and Knowledge: Feminism, Modernity, and the Separation of Spheres. Metaphilosophy 27 (1-2):118-145.
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  18. Hilary Radner (2003). Book Review: Cynthia A. Freeland. The Naked and the Undead: Evil and the Appeal of Horror. Boulder: Westview Press. 2000. [REVIEW] Hypatia 18 (2):215-222.
  19. L. Richardson (2013). The Philosophy of Wine: A Case of Truth, Beauty and Intoxication, by Cain Todd. Mind 121 (484):1135-1138.
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  20. Barry Smith (1994). Austrian Philosophy. The Legacy of Franz Brentano. Open Court.
    This book is a survey of the most important developments in Austrian philosophy in its classical period from the 1870s to the Anschluss in 1938. But I hope that the volume will be seen also as a contribution to philosophy in its own right as an attempt to philosophize in the spirit of those, above all Roderick Chisholm, Rudolf Haller, Kevin Mulligan and Peter Simons, who have done so much to demonstrate the continued fertility of the ideas and methods of (...)
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  21. Aaron Smuts (2010). The Ghost is the Thing: Can Fiction Reveal Audience Belief? Midwest Studies in Philosophy 34 (1):219-239.
    Can fictions sometimes reveal important information about what beliefs audience members hold? I argue that a case can be made that emotional responses to some horror fictions can reveal that audiences harbor beliefs in the supernatural, beliefs that audience members might otherwise deny holding. To clarify the terms of the discussion, I begin with an overview of two leading theories of belief: the representational and dispositional accounts. I explore the role of belief in the production of emotional responses by posing (...)
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  22. R. Stecker (2011). Should We Still Care About the Paradox of Fiction? British Journal of Aesthetics 51 (3):295-308.
    The paradox of fiction presents an inconsistent triad of propositions, all of which are purported to be plausible or difficult to abandon. Here is an instance of the paradox: (1) Sally pities Anna (where Anna is the character Anna Karenina). (2) To pity someone, one must believe that they exist and are suffering. (3) Sally does not believe that Anna exists. Here is the problem. The paradox was formulated during the heyday of the cognitive theory of the emotions when there (...)
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  23. S. J. Wilsmore (1987). Unmasking Skepticism About Restoration. Journal of Aesthetics and Art Criticism 46 (2):304-306.
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  24. Jeffrey Wilson (2007). Museum Skepticism: A History of the Display of Art in Public Galleries by Carrier, David. Journal of Aesthetics and Art Criticism 65 (3):338–339.
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Aesthetic Education
  1. Elizabeth Anne Bauer (2004). Response to June Boyce-Tillman, "Towards an Ecology of Music Education&Quot. Philosophy of Music Education Review 12 (2):186-188.
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  2. June Boyce-Tillman (2004). Towards an Ecology of Music Education. Philosophy of Music Education Review 12 (2):102-125.
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  3. Deborah Bradley (2011). In the Space Between the Rock and the Hard Place: State Teacher Certification Guidelines and Music Education for Social Justice. Journal of Aesthetic Education 45 (4):79-96.
    Différend: A case of conflict between (at least) two parties, that cannot be equitably resolved for lack of a rule of judgment applicable to both arguments. . . . A wrong results from the fact that the rules of the genre of discourse by which one judges are not those of the judged genre or genres of discourse. This paper looks at the State of Wisconsin Department of Public Instruction (DPI) Guidelines for Music Teacher Education, a governmentally defined technology of (...)
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  4. Rhett Diessner & Kayla Burke (2011). The Beauty of the Psyche and Eros Myth: Integrating Aesthetics Into Introduction to Psychology. Journal of Aesthetic Education 45 (4).
    Beginning in the late 1990s we became convinced that our undergraduate psychology students needed classroom experiences that set the conditions for them to become more engaged with beauty. We recognized the intrinsic importance of beauty to human psychological development, beyond any utilitarian concerns.1 But we also believed that there were important psychological benefits to be gained by becoming increasingly engaged with beauty. In this paper we briefly describe some of those benefits that have been documented in the psychological research literature (...)
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  5. Mark Garberich (2004). Response to June Boyce-Tillman, "Towards an Ecology of Music Education&Quot. Philosophy of Music Education Review 12 (2):188-193.
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  6. Claudia Gluschankof (2004). Response to June Boyce-Tillman, "Towards an Ecology of Music Education&Quot. Philosophy of Music Education Review 12 (2):181-186.
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  7. Jan Jagodzinski (2010). Visual Art and Education in an Era of Designer Capitalism: Deconstructing the Oral Eye. Palgrave Macmillan.
    The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the ‘I’ of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancière, Virilio, Ziarek, and Žižek to explore contemporary art (post-Situationism) and visual cultural (...)
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  8. Brian Ribeiro (2007). Hume's Standard of Taste and the de Gustibus Sceptic. British Journal of Aesthetics 47 (1):16-28.
    In 'Of the Standard of Taste' Hume aspires to silence the 'extravagant' cavils of the anything-goes de gustibus sceptic by developing a programme of aesthetic education that would lead all properly-trained individuals to a set of agreed-upon aesthetic judgements. But I argue that if we read Hume's essay as an attempted direct theoretical refutation of de gustibus scepticism, Hume fails to achieve his aim. Moreover, although some recent commentators have read the essay as aiming at a less ambitious ‘sceptical solution’ (...)
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  9. June Tillman (2004). Towards an Ecology of Music Education. Philosophy of Music Education Review 12 (2):102-125.
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  10. Sheryl Tuttle Ross (2002). Understanding Propaganda: The Epistemic Merit Model and Its Application to Art. Journal of Aesthetic Education 36 (1):16-30.
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  11. Frederic Will (2011). Ontology and the Products of Spirit: A Classroom Conversation. Journal of Aesthetic Education 45 (4):67-78.
    Among the casualties of the rush to relativism is a central tenet of classical thought: that great works of literature are great in and of themselves and not because of the needs and values of their time. This “canon-based view,” supply taken for granted by Johnson, Arnold, Pope, and Eliot, has long since been shown the door by views ranging from Marxism to today’s cultural studies. These views hold that the great works become great because of the values and concerns (...)
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Aesthetic Qualities
See also: Humour
  1. Rudolf Arnheim (1996). Beauty as Suitability. Journal of Aesthetics and Art Criticism 54 (3):251-253.
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  2. Malcolm Budd (2006). The Characterization of Aesthetic Qualities by Essential Metaphors and Quasi-Metaphors. British Journal of Aesthetics 46 (2):133-143.
    My paper examines a vital but neglected aspect of Frank Sibley's pioneering account of aesthetic concepts. This is the claim that many aesthetic qualities are such that they can be characterized adequately only by metaphors or ‘quasi-metaphors’. Although there is no indication that Sibley embraced it, I outline a radical, minimalist conception of the experience of perceiving an item as possessing an aesthetic quality, which, I believe, has wide application and which would secure Sibley's position for those aesthetic qualities that (...)
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  3. Rafael De Clercq (2005). The Aesthetic Peculiarity of Multifunctional Artefacts. British Journal of Aesthetics 45 (4):412-425.
    Echoing a distinction made by David Wiggins in his discussion of the relation of identity, this paper investigates whether aesthetic adjectives such as ‘beautiful’ are sortal-relative or merely sortal-dependent. The hypothesis guiding the paper is that aesthetic adjectives, though probably sortal-dependent in general, are sortal-relative only when used to characterize multifunctional artefacts. This means that multifunctional artefacts should be unique in allowing the following situation to occur: for some object x there are sortals K and K' such that x is (...)
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  4. C. E. Emmer (1998). Kitsch Against Modernity. Art Criticism 13 (1):53-80.
    "The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...)
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  5. Michael Fletcher (2005). Dependent Beauty and Perfection in Kant's Aesthetics. Philosophical Writings (29).
    This paper attacks an account of Kant's controversial distinction between "free" and "dependent" beauty. I present three problems—The Lorland problem, The Crawford Problem, and the problem of intrinsic relation—that are shown to be a consequence of various interpretations of Kant's distinction. Next, I reconstruct Robert Wicks' well-known account of dependent beauty as "the appreciation of teleological style" and point out a key equivocation in the statement of Wicks' account: the judgment of dependent beauty can be thought to consist in comparing (...)
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  6. Alan H. Goldman (1990). Aesthetic Qualities and Aesthetic Value. Journal of Philosophy 87 (1):23-37.
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  7. Göran Hermerén (1973). Aesthetic Qualities, Value and Emotive Meaning. Theoria 39 (1-3):71-100.
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  8. D. H. Hick (2012). Aesthetic Supervenience Revisited. British Journal of Aesthetics 52 (3):301-316.
    In this paper, I hope to reintroduce debate on the issue of aesthetic supervenience, especially in light of work undertaken by metaphysicians in recent years. After providing a brief walkthrough of some of the major views on supervenience generally, including several important metaphysical distinctions, I build upon views by Jerrold Levinson, John Bender, Nick Zangwill, and Gregory Currie, to develop a realist thesis of strong local supervenience, such that aesthetic properties of artworks and other objects depend upon their formal/structural properties (...)
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  9. Peter Kivy (1968). Aesthetic Aspects and Aesthetic Qualities. Journal of Philosophy 65 (4):85-93.
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  10. Thomas Leddy (1995). Everyday Surface Aesthetic Qualities: "Neat," "Messy," "Clean," "Dirty". Journal of Aesthetics and Art Criticism 53 (3):259-268.
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  11. Jerrold Levinson (1984). Aesthetic Supervenience. Southern Journal of Philosophy 22 (S1):93-110.
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  12. Richard Lind (1985). A Microphenomenology of Aesthetic Qualities. Journal of Aesthetics and Art Criticism 43 (4):393-403.
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  13. Jeffrey Olen (1979). Perception, Inference, and Aesthetic Qualities. The Monist 62 (4):482-495.
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  14. Jeffrey Olen (1977). Theories, Interpretations, and Aesthetic Qualities. Journal of Aesthetics and Art Criticism 35 (4):425-431.
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  15. Glenn Parsons (2008). Functional Beauty. Oxford University Press.
    Functional beauty in the aesthetic tradition -- Functional beauty in contemporary aesthetic theory -- Indeterminacy and the concept of function -- Function and form -- Nature and environment -- Architecture and the built environment -- Artefacts and everyday aesthetics -- The functions of art.
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  16. Iuliana Corina Vaida (1998). The Quest for Objectivity: Secondary Qualities and Aesthetic Qualities. Journal of Aesthetics and Art Criticism 56 (3):283-297.
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Aesthetic Qualities, Misc
  1. Derek Allan (2013). Art and Time. Cambridge Scholars.
    A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art museums. (...)
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  2. 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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  3. Rafael de Clercq (2011). Modern Architecture and the Concept of Harmony. British Journal of Aesthetics 51 (1):69-79.
    The aim of this paper is to achieve a better understanding of why modern buildings do not easily harmonize with one another. After proposing, and defending, an analysis of the concept of architectural harmony, the paper turns to three possible views on whether we can expect more harmony from modern architecture in the future.
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  4. Rafael De Clercq (2009). Scruton on Rightness of Proportion in Architecture. British Journal of Aesthetics 49 (4):405-414.
    In The Aesthetics of Architecture, Roger Scruton makes at least four claims about rightness of architectural proportion. The present paper lists those claims, briefly discusses the way they are related, and, finally, selects one as the topic of discussion: the claim that there cannot be an exact, mathematical definition of rightness of proportion. Scruton’s arguments for this claim are reviewed. The first is found to be substantially correct, whereas the second is found to rely on a mistaken assumption, namely the (...)
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  5. Rafael De Clercq (2008). The Structure of Aesthetic Properties. Philosophy Compass 3 (5):894-909.
    Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...)
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  6. Rafael De Clercq (2007). A Note on the Aesthetics of Mirror Reversal. Philosophical Studies 132 (3).
    According to Roy Sorensen [Philosophical Studies 100 (2000) 175–191] an object cannot differ aesthetically from its mirror image. On his view, mirror-reversing an object – changing its left/right orientation – cannot bring about any aesthetic change. However, in arguing for this thesis Sorensen assumes that aesthetic properties supervene on intrinsic properties alone. This is a highly controversial assumption and nothing is offered in its support. Moreover, a plausible weakening of the assumption does not improve the argument. Finally, Sorensen’s second argument (...)
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  7. Rafael De Clercq (2002). The Concept of an Aesthetic Property. Journal of Aesthetics and Art Criticism 60 (2):167–176.
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  8. 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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  9. Carol S. Gould (2005). Glamour as an Aesthetic Property of Persons. Journal of Aesthetics and Art Criticism 63 (3):237–247.
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  10. James R. Hamilton (2009). Drama. In Higgins Davies (ed.), Blackwell Companion to Aesthetics.
    Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.
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  11. James R. Hamilton (2009). Pretense and Display Theories of Theatrical Performance. Organon F:632-654.
    A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.
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  12. James R. Hamilton (2007). The Art of Theater. Wiley-Blackwell.
    Hamilton argues that theatrical performances have always been regarded as works produced for inspection and evaluation in their own right. The reason this has been obscured is the enormously successful text-based literary tradition in modern European theater. To show why this is as it should be, Hamilton shows how theater's spectators pick out, grasp, and assess performances without reference to the texts they employ, even within that successful literary tradition.
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  13. Christy Mag Uidhir & Cameron Buckner (forthcoming). A Portrait of the Artist as an Aesthetic Expert. In Gregory Currie, Matthew Kieran & Aaron Meskin (eds.), Aesthetics and the Sciences. Oxford University Press.
    For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...)
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  14. John Marmysz (2003). Laughing at Nothing: Humor as a Response to Nihilism. SUNY Press.
    Disputing the common misconception that nihilism is wholly negative and necessarily damaging to the human spirit, John Marmysz offers a clear and complete definition to argue that it is compatible, and indeed preferably responded to, with an attitude of good humor. He carefully scrutinizes the phenomenon of nihilism as it appears in the works, lives, and actions of key figures in the history of philosophy, literature, politics, and theology, including Nietzsche, Heidegger, Camus, and Mishima. While suggesting that there ultimately is (...)
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  15. John Marmysz (2001). Humor, Sublimity and Incongruity. Consciousness, Literature and the Arts 2 (3).
    Humorous laughter is related to the sublime experience in that it involves the transformation of a potentially unpleasant perception into a pleasurable experience. However, whereas sublimity is associated with feelings of awe and respect, humorous laughter is associated with feelings of superiority and contempt. This difference is a result of the fact that sublimity is an affective response involving an individual’s perception of vulnerability while humorous laughter is a response involving perceived invulnerability.
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  16. Patrick Maynard (2009). Drawing, Painting, and Print-Making. In Robert Hopkins (ed.), A Companion to Aesthetics: The Blackwell Companion to Philosophy, 2d rev. ed. Wiley-Blackwell.
    encyclopedia article focused on drawing, stressing facture, the physicality of three media.
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  17. Patrick Maynard (1997). The Engine of Visualization: Thinking Through Photography. Cornell University Press.
    First ever philosophy treatise on photography, analytic in approach but sensitive to photo-history, not confined to aesthetics or art (illus.), Walker Evans photo on cover. Papercover printing, Dec. 2000.
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  18. John Zeimbekis (2003). Propriétés Esthétiques Et Évaluation. Revue francophone d'esthétique (1):25-47.
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Beauty
  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. 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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  3. 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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  4. 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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  5. 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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  6. 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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  7. 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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  8. 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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  9. 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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  10. 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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  11. 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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  12. 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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Style
  1. Joseph Anthony Amato (1990). Victims and Values: A History and a Theory of Suffering. Greenwood Press.
    This book conducts a timely inquiry into contemporary conscience and politics.
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  2. Antony Aumann, Aesthetic Value, Cognitive Value, and the Border Between.
    It is sometimes held that “the aesthetic” and “the cognitive” are separate categories. Enterprises concerning the former and ones concerning the latter have different aims and values. They require distinct modes of attention and reward divergent kinds of appreciation. Thus, we must avoid running together aesthetic and cognitive matters. In this paper, I challenge the independence of these categories, but in unorthodox fashion. Most attempts proceed by arguing that cognitive values can bear upon aesthetic ones. I approach from the opposite (...)
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  3. Antony Aumann (forthcoming). Kierkegaard, Paraphrase, and the Unity of Form and Content. Philosophy Today.
    On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by Lessing and (...)
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  4. Antony Aumann (forthcoming). On the Cognitive Value of Literature: The Case of Nietzsche’s Genealogy. Journal of Nietzsche Studies.
    One striking feature of On the Genealogy of Morals concerns how it is written. Nietzsche utilizes a literary style that provokes his readers’ emotions. Recently, Christopher Janaway has argued that this approach is integral to Nietzsche’s philosophical goals: feeling the emotions Nietzsche’s style arouses is necessary for understanding the views he defends. This paper shows that Janaway’s position is tempting but mistaken. The temptation exists because our emotions often function as “tools of discovery.” They bring things into focus we otherwise (...)
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  5. Antony Aumann (2010). Kierkegaard on Indirect Communication, the Crowd, and a Monstrous Illusion. In Robert L. Perkins (ed.), International Kierkegaard Commentary: Point of View. Mercer University Press.
    Following the pattern set by the early German Romantics, Kierkegaard conveys many of his insights through literature rather than academic prose. What makes him a valuable member of this tradition is the theory he develops to support it, his so-called “theory of indirect communication.” The most exciting aspect of this theory concerns the alleged importance of indirect communication: Kierkegaard claims that there are some projects only it can accomplish. This paper provides a critical account of two arguments Kierkegaard offers in (...)
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  6. Antony Aumann (2008). Kierkegaard on the Need for Indirect Communication. Dissertation, Indiana University
    This dissertation concerns Kierkegaard’s theory of indirect communication. A central aspect of this theory is what I call the “indispensability thesis”: there are some projects only indirect communication can accomplish. The purpose of the dissertation is to disclose and assess the rationale behind the indispensability thesis. -/- A pair of questions guides the project. First, to what does ‘indirect communication’ refer? Two acceptable responses exist: (1) Kierkegaard’s version of Socrates’ midwifery method and (2) Kierkegaard’s use of artful literary devices. Second, (...)
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  7. Luc Boltanski (1999). Distant Suffering: Morality, Media, and Politics. Cambridge University Press.
    Distant Suffering examines the moral and political implications for a spectator of the distant suffering of others as presented through the media. What are the morally acceptable responses to the sight of suffering on television, for example, when the viewer cannot act directly to affect the circumstances in which the suffering takes place? Luc Boltanski argues that spectators can actively involve themselves and others by speaking about what they have seen and how they were affected by it. Developing ideas in (...)
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  8. E. V. Dashkova (2006). Stilʹ I Stilizat͡sii͡a V Filosofsko-Kulʹturologicheskom Kontekste: Monografii͡a. I͡uzhno-Rossiĭskiĭ Gos. Universitet Ėkonomiki I Servisa.
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  9. Fernando Escalante Gonzalbo (2006). In the Eyes of God: A Study on the Culture of Suffering. University of Texas Press, Teresa Lozano Long Institute of Latin American Studies.
    "Every culture needs to appropriate the universal truth of human suffering," says Fernando Escalante, ". . . to give its own meaning to this suffering, so that human existence is bearable." Originally published in Spanish as La mirada de Dios: Estudios sobre la cultura del sufrimiento, this book is a remarkable study of the evolution of the culture of suffering and the different elements that constitute it, beginning with a reading of Rousseau and ending with the appearance of the Shoah (...)
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  10. James R. Hamilton (2009). Drama. In Higgins Davies (ed.), Blackwell Companion to Aesthetics.
    Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.
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  11. James R. Hamilton (2009). Pretense and Display Theories of Theatrical Performance. Organon F:632-654.
    A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.
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  12. James R. Hamilton (2007). The Art of Theater. Wiley-Blackwell.
    Hamilton argues that theatrical performances have always been regarded as works produced for inspection and evaluation in their own right. The reason this has been obscured is the enormously successful text-based literary tradition in modern European theater. To show why this is as it should be, Hamilton shows how theater's spectators pick out, grasp, and assess performances without reference to the texts they employ, even within that successful literary tradition.
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  13. Marvin Henberg (1990). Retribution: Evil for Evil in Ethics, Law, and Literature. Temple University Press.
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  14. Santiago Kovadloff (2009). El Enigma Del Sufrimiento. Emecé.
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  15. Berel Lang (ed.) (1987). The Concept of Style. Cornell University Press.
    ILLUSTRATIONS Chapter 2 1. Roy Lichtenstein, Little Big Painting 83 2. Luis Buriuel, Viridiana (Last Supper scene) 86 3. ...
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  16. Leonard B. Meyer & Berel Lang (eds.) (1979). The Concept of Style. University of Pennsylvania Press.
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  17. John Reed (2010). Tales of Woe. Distributed by Powerhouse Books.
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  18. Eric R. Severson (ed.) (2010). I More Than Others: Responses to Evil and Suffering. Cambridge Scholars Pub..
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  19. Richard Shusterman (2011). Somatic Style. Journal of Aesthetics and Art Criticism 69 (2):147-159.
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