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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. Virgil Aldrich (1986). Hugo A. Meynell, The Nature of Aesthetic Value. [REVIEW] Philosophy in Review 6:348-350.
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  3. Virgil C. Aldrich (1986). Hugo A. Meynell, The Nature of Aesthetic Value Reviewed By. Philosophy in Review 6 (7):348-350.
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  4. Mulk Raj Anand (1963). The Third Eye a Lecture on the Appreciation of Art. Published for the University of Punjab by D.C. Sharma.
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  5. John Armstrong (1996). Looking at Pictures an Introduction to the Appreciation of Art.
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  6. Paloma Atencia-Linares (2014). Aesthetic Essays, by Malcolm Budd. Mind 123 (491):876-879.
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  7. A. Berleant (1978). Aesthetic Paradigms for an Urban Ecology. Diogenes 26 (103):1-28.
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  8. William L. Blizek (1973). "Aesthetics: An Introduction," by George Dickie. Modern Schoolman 50 (4):385-387.
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  9. G. Bohme & J. Farrell (1992). An Aesthetic Theory of Nature: An Interim Report. Thesis Eleven 32 (1):90-102.
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  10. Emily Brady (2010). Aesthetics and Nature. British Journal of Aesthetics 50 (1):114-117.
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  11. Isis Brook (2011). 9 Reinterpreting the Picturesque in the Experience of Landscape. In Jeff Malpas (ed.), The Place of Landscape: Concepts, Contexts, Studies. Mit Press. 165.
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  12. 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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  13. 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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  14. Malcolm Budd (2005). Aesthetics of Nature. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oup Oxford.
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  15. Allen Carlson & Arnold Berleant (2004). Introduction: The Aesthetics of Nature. In Allen Carlson & Arnold Berleant (eds.), The Aesthetics of Natural Environments. Broadview Press. 11--42.
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  16. 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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  17. C. L. Carter (2013). Philosophy and Art: Changing Landscapes for Aesthetics. Diogenes 59 (1-2):84-100.
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  18. 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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  19. Ralph W. Church (1939). An Essay on Critical Appreciation. Philosophical Review 48 (6):638-640.
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  20. David Cooper (2002). The Reach of the Aesthetic: Collected Essays on Art and Nature. [REVIEW] Philosophy 77 (2):283-296.
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  21. Donald Crawford (2004). Scenery and the Aesthetics of Nature. In Allen Carlson & Arnold Berleant (eds.), The Aesthetics of Natural Environments. Broadview Press. 253--68.
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  22. Stephen Davies (2014). Art and Aesthetic Behaviors as Possible Expressions of Our Biologically Evolved Human Nature. Philosophy Compass 9 (6):361-367.
    In this paper, I review arguments that have been offered in favor of the view that humans' art and/or aesthetic behaviors are (in part) a product of our biologically evolved human nature, either as adaptations in their own right or as incidental byproducts of adaptations with non-art and non-aesthetic functions. I present an overview of the main positions and options, critically evaluate their strengths and weaknesses, and outline their presuppositions.
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  23. Susannah C. Drake (2010). Term. Definition. Identity Regenerating Landscape Architecture in the Era of Landscape Urbanism. Topos 71:50.
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  24. Nigel Everett (2011). 16 The Lie of the Land: Reflections on Irish Nature and Landscape. In Jeff Malpas (ed.), The Place of Landscape: Concepts, Contexts, Studies. Mit Press. 295.
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  25. 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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  26. 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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  27. Catherine Gavin (2013). Built Landscape for the Perot Museum of Nature and Science in Dallas. Roof with a Texan Landscape Miniature. Topos: European Landscape Magazine 83:32.
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  28. Peter Gena (2012). Apropos Sonification: A Broad View of Data as Music and Sound. [REVIEW] 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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  29. E. H. Gombrich (1981). Nature and Art as Needs of the Mind.
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  30. Max Gottschlich, Monika Leisch-Kiesl & Susi Winder (eds.) (forthcoming). Ästhetische Kategorien - Kunstwissenschaft und Philosophie im Diskurs (Linzer Beiträge zur Kunstwissenschaft und Philosophie), geplant für Anfang 2016 (Beiträge u.a. von L. Dorner, M. Gottschlich, I. Guanzini, M. Hofer, A. Kern, W. Lütterfelds, D. Mersch, F. Uhl, V. Waibel). transcript.
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  31. 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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  32. 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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  33. Thomas Heyd (2000). Allen Carlson, Aesthetics and the Environment Reviewed By. Philosophy in Review 20 (5):324-326.
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  34. Thomas Heyd (2000). Allen Carlson, Aesthetics and the Environment. [REVIEW] Philosophy in Review 20:324-326.
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  35. R. Ingarden (forthcoming). The Structure of Appreciation. Contemporary Aesthetics. Boston: Allyn and Bacon.
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  36. Eileen John (2012). Beauty, Interest, and Autonomy. Journal of Aesthetics and Art Criticism 70 (2):193-202.
  37. Horace Meyer Kallen (1913). Art, Philosophy, and Life. International Journal of Ethics 24 (1):37-54.
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  38. Martin Kaplický (2008). 'Beauty, Landscape, Nature': A Conference Report. Estetika 45 (2):232-234.
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  39. Jerrold Levinson (ed.) (2014). Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
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  40. Kati Lindström (2002). Author, Landscape and Communication in Estonian Haiku. Sign Systems Studies 30 (2):653-675.
    Present article tries to give insight into the ways in which Estonian haiku models its author and communicates with the reader. The author thinks that while Japanese haiku is a predominantly autocommunicative piece of literature, where even a fixed point of view is not recommended, Estonian literary conventions are oriented towards openly communicational texts, which convey a fixed axiology and rely on abundant use of pronouns and rhetorical questions, addresses and apostrophes. While there is a considerable amount of Estonian haiku (...)
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  41. Stefan Majetschak (2007). Kunst und Kennerschaft: Wittgenstein uber das Verstaendis und die Erklaerung von Kunstwerken. In Wilhelm Luetterfelds Stefan Majetschak (ed.), Wittgenstein-Studien. 49-68.
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  42. Katya Mandoki (2015). The Indispensable Excess of the Aesthetic: Evolution of Sensibility in Nature. Lexington Books.
    This book offers a compelling account of the evolution of sensibility, weaving together Darwinian and biosemiotic theory. It works along non-anthropomorphic aesthetics of the appreciation and creation of beauty in nature as an end in itself which has practical benefit.
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  43. Andrew Mcgonigal (2011). Philosophical Perspectives on Art by Davies, Stephen. Journal of Aesthetics and Art Criticism 69 (2):231-233.
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  44. Mrinal Miri (2010). In Appreciation. In J. Sharma A. Raguramaraju (ed.), Grounding Morality. Routledge. 347.
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  45. Jeff Mitscherling (2009). Aesthetic Genesis: The Origin of Consciousness in the Intentional Being of Nature. Upa.
    This book reverses the fundamental tenet of phenomenology-that all consciousness is intentional . Mitscherling rehabilitates the pre-modern concepts of 'intentional being' and 'formal causality' in the construction of a comprehensive phenomenological analysis of embodiment, aesthetic experience, interpretation of texts, moral behavior, and cognition.
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  46. Ronald Moore (forthcoming). Appreciating Natural Beauty as Natural. Journal of Aesthetic Education.
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  47. 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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  48. Amy Mullin (1996). Art, Politics and Knowledge: Feminism, Modernity, and the Separation of Spheres. Metaphilosophy 27 (1-2):118-145.
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  49. Margaret Nering (forthcoming). A Response to June Boyce-Tillman's" Promoting Well-Being Through Music Education". Philosophy of Music Education Review.
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  50. Ira Newman (2005). Allen Carlson and Arnold Berleant, Eds., The Aesthetics of Natural Environments Reviewed By. Philosophy in Review 25 (1):14-16.
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