This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related categories
Subcategories:
192 found
Search inside:
(import / add options)   Sort by:
1 — 50 / 192
Material to categorize
  1. Lars Aagaard-Mogensen (1982). Arts and Ends. Journal of Aesthetics and Art Criticism 41 (2):215-217.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  2. Virgil C. Aldrich (1986). Hugo A. Meynell, The Nature of Aesthetic Value Reviewed By. Philosophy in Review 6 (7):348-350.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  3. Paloma Atencia-Linares (2014). Aesthetic Essays, by Malcolm Budd. Mind 123 (491):876-879.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  4. A. Berleant (1978). Aesthetic Paradigms for an Urban Ecology. Diogenes 26 (103):1-28.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  5. William L. Blizek (1973). "Aesthetics: An Introduction," by George Dickie. Modern Schoolman 50 (4):385-387.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  6. G. Bohme & J. Farrell (1992). An Aesthetic Theory of Nature: An Interim Report. Thesis Eleven 32 (1):90-102.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  7. Emily Brady (2010). Aesthetics and Nature. British Journal of Aesthetics 50 (1):114-117.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  8. 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.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  9. 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 (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  10. 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 (...)
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  11. Malcolm Budd (2005). Aesthetics of Nature. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oup Oxford.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  12. 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.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  13. 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 (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  14. C. L. Carter (2013). Philosophy and Art: Changing Landscapes for Aesthetics. Diogenes 59 (1-2):84-100.
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  15. 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 (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  16. Donald Crawford (2004). Scenery and the Aesthetics of Nature. In Allen Carlson & Arnold Berleant (eds.), The Aesthetics of Natural Environments. Broadview Press. 253--68.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  17. 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.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  18. Susannah C. Drake (2010). Term. Definition. Identity Regenerating Landscape Architecture in the Era of Landscape Urbanism. Topos 71:50.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  19. 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.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  20. 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 ...
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  21. 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 (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  22. 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.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  23. 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 (...)
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  24. 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.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  25. 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.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  26. Lisa Heldken (2002). Book Review: Carolyn Korsmeyer. Making Sense of Taste. Ithaca: Cornell University Press, 1999. [REVIEW] Hypatia 17 (3):283-286.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  27. Thomas Heyd (2000). Allen Carlson, Aesthetics and the Environment Reviewed By. Philosophy in Review 20 (5):324-326.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  28. R. Ingarden (forthcoming). The Structure of Appreciation. Contemporary Aesthetics. Boston: Allyn and Bacon.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  29. Eileen John (2012). Beauty, Interest, and Autonomy. Journal of Aesthetics and Art Criticism 70 (2):193-202.
  30. Horace Meyer Kallen (1913). Art, Philosophy, and Life. International Journal of Ethics 24 (1):37-54.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  31. Martin Kaplický (2008). 'Beauty, Landscape, Nature': A Conference Report. Estetika 45 (2):232-234.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  32. Jerrold Levinson (ed.) (2014). Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  33. 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 (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  34. Stefan Majetschak (2007). Kunst und Kennerschaft: Wittgenstein uber das Verstaendis und die Erklaerung von Kunstwerken. In Wilhelm Luetterfelds Stefan Majetschak (ed.), Ethik und Aesthetik sind Eins: Beitraege zu Wittgensteins Aesthetik und Kunstphilosophie (Wittgenstein Studien 15). 49-68.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  35. Andrew Mcgonigal (2011). Philosophical Perspectives on Art by Davies, Stephen. Journal of Aesthetics and Art Criticism 69 (2):231-233.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  36. Mrinal Miri (2010). In Appreciation. In J. Sharma A. Raguramaraju (ed.), Grounding Morality. Routledge. 347.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  37. Jeff Mitscherling (2009). Aesthetic Genesis: The Origin of Consciousness in the Intentional Being of Nature. University Press of America.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  38. Ronald Moore (forthcoming). Appreciating Natural Beauty as Natural. Journal of Aesthetic Education.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  39. 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 (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  40. Amy Mullin (1996). Art, Politics and Knowledge: Feminism, Modernity, and the Separation of Spheres. Metaphilosophy 27 (1-2):118-145.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  41. Margaret Nering (forthcoming). A Response to June Boyce-Tillman's" Promoting Well-Being Through Music Education". Philosophy of Music Education Review.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  42. Ira Newman (2005). Allen Carlson and Arnold Berleant, Eds., The Aesthetics of Natural Environments Reviewed By. Philosophy in Review 25 (1):14-16.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  43. Beatrice Nunold (2008). Landscape as a Topology of Being and Appearance. Proceedings of the Xxii World Congress of Philosophy 1:191-226.
    Our reality constitutes itself as being one of pictures. Landscape is a product of aesthetic reflection as well as the perception of reality and virtual reality of the first order (VR 1). Pictorial representation of a landscape is virtual reality of the second order (VR 2). A picture is a structure of relations with a specific topology or an interrelationship. A picture is set in relation. Topology relates to relational similarities and differences as well as their transfer into other interrelationships, (...)
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  44. R. Paden, L. K. Harmon & C. R. Milling (2012). Ecology, Evolution, and Aesthetics: Towards an Evolutionary Aesthetics of Nature. British Journal of Aesthetics 52 (2):123-139.
    Allen Carlson has argued that a proper aesthetics of nature must judge nature for ‘what it is’, and that such judgements must be informed by a scientific understanding of nature, in particular, one shaped by the science of ecology. Carlson uses these claims to support his theory of positive aesthetics. This paper argues that there are problems in this view. First, it misunderstands ecology, thereby adopting a view of the natural world that holds it to be much more integrated than (...)
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  45. Frits Palmboom (2010). Landscape Urbanism: Conflation or Coalition? Deep Connections in the Shaping of Cities and Landscapes. Topos 71:43.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  46. Roger Pouivet (2009). Malcolm Budd, Aesthetic Essays. Philosophy in Review 29 (5):321.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  47. 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.
  48. L. Richardson (2012). The Philosophy of Wine: A Case of Truth, Beauty and Intoxication, by Cain Todd. Mind 121 (484):1135-1138.
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  49. Jason Simus (2008). Aesthetic Implications of the New Paradigm in Ecology. Journal of Aesthetic Education 42 (1):63-79.
    Here I explore the aesthetic implications of this new paradigm, the central implication being that scientific cognitivism, when combined with the new paradigm in ecology, may require updating the qualities associated with positive aesthetics. After reviewing Allen Carlson's defense of both scientific cognitivism and the positive aesthetics thesis, I show how the significantly different conceptual framework that the new paradigm in ecology provides will require equally significant adjustments to how we aesthetically appreciate nature. I make two suggestions. First, the new (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  50. 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 (...)
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
1 — 50 / 192