Search results for 'Aesthetic concepts' (try it on Scholar)

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  1. Nick Zangwill (2014). Music, Metaphor, and Aesthetic Concepts. Journal of Aesthetics and Art Criticism 72 (1):1-11.score: 178.0
    The aesthetic realist interprets many descriptions of music as metaphorical descriptions of aesthetic properties of music. I argue that aesthetic realism requires that nonaesthetic words are used to express both aesthetic and nonaesthetic concepts. But having distinguished the concepts, some plausible account must be given of their relation. A causal account of the relation between the possession of aesthetic and nonaesthetic concepts provides this, since the concepts are distinct but connected. I (...)
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  2. Emily Brady & Jerrold Levinson (eds.) (2001). Aesthetic Concepts: Essays After Sibley. Oxford University Press.score: 160.0
    Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.
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  3. Joseph Thomas Tolliver (2012). Tales of the Ineffable: Crafting Concepts in Aesthetic Experience. Philosophical Studies 161 (1):153-162.score: 156.0
    Lehrer has argued that in having an aesthetic experience of an art work we come to have ineffable knowledge of what the art object is like. This knowledge is made possible by our ability to conceptualize the art object by means of a process Lehrer calls, "exemplarization", that involves using an experience to craft a general representation of that very experience. I suggest that exemplar concepts function as vehicles of ineffable representation only if they have two features: (i) (...)
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  4. Ralph Alexander Smith (ed.) (1970). Aesthetic Concepts and Education. Urbana,University of Illinois Press.score: 154.0
  5. R. David Broiles (1964). Frank Sibley's "Aesthetic Concepts". Journal of Aesthetics and Art Criticism 23 (2):219-225.score: 152.0
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  6. Roman Bonzon (2009). Thick Aesthetic Concepts. Journal of Aesthetics and Art Criticism 67 (2):191-199.score: 152.0
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  7. Derek Matravers (1996). Aesthetic Concepts and Aesthetic Experiences. British Journal of Aesthetics 36 (3):265-279.score: 152.0
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  8. Peter Kivy (1979). Aesthetic Concepts: Some Fresh Considerations. Journal of Aesthetics and Art Criticism 37 (4):423-432.score: 152.0
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  9. R. Meager (1970). Aesthetic Concepts. British Journal of Aesthetics 10 (4):303-322.score: 152.0
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  10. Gary Stahl (1971). Sibley's "Aesthetic Concepts": An Ontological Mistake. Journal of Aesthetics and Art Criticism 29 (3):385-389.score: 152.0
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  11. Aaron Meskin (2004). Aesthetic Concepts: Essays After Sibley. [REVIEW] British Journal of Aesthetics 44 (1):90-93.score: 152.0
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  12. J. F. Logan (1967). More on Aesthetic Concepts. Journal of Aesthetics and Art Criticism 25 (4):401-406.score: 152.0
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  13. Frank Sibley (1959). Aesthetic Concepts. Philosophical Review 68 (4):421-450.score: 150.0
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  14. Frank Sibley (1963). Aesthetic Concepts: A Rejoinder. Philosophical Review 72 (1):79-83.score: 150.0
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  15. H. R. G. Schwyzer (1963). Sibley's "Aesthetic Concepts". Philosophical Review 72 (1):72-78.score: 150.0
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  16. Derek Matravers (2002). Review: Aesthetic Concepts: Essays After Sibley. [REVIEW] Mind 111 (444):912-916.score: 150.0
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  17. Peter Kivy (1981). Secondary Senses and Aesthetic Concepts: A Reply to Professor Tilghman. Philosophical Investigations 4 (1):35-38.score: 150.0
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  18. Isabel C. Hungerland (1962). The Logic of Aesthetic Concepts. Proceedings and Addresses of the American Philosophical Association 36:43 - 66.score: 150.0
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  19. E. Schellekens (2002). Aesthetic Concepts--Essays After Sibley. Australasian Journal of Philosophy 80 (4):536-538.score: 150.0
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  20. Ronald Hepburn (2003). Brady, Emily, and Jerrold Levinson, Eds. Aesthetic Concepts: Essays After Sibley. Review of Metaphysics 56 (3):635-637.score: 150.0
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  21. H. Ll Hudson-Williams (1964). Aesthetic Theory in Plato and Aristotle J. G. Warry: Greek Aesthetic Theory. A Study of Callistic and Aesthetic Concepts in the Works of Plato and Aristotle. London: Methuen, 1962. Cloth, 18s. Net. [REVIEW] The Classical Review 14 (01):33-34.score: 150.0
  22. Ondřej Dadejík & Štěpán Kubalík (2013). Some Remarks on Descriptive and Negative Aesthetic Concepts: A Critical Note. Estetika 2:206-211.score: 150.0
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  23. Lesley Wright (2003). Aesthetic Implicitness in Sport and the Role of Aesthetic Concepts. Journal of the Philosophy of Sport 30 (1):83-92.score: 150.0
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  24. I. M. Fowlie & J. G. Warry (1964). Greek Aesthetic Theory: A Study of Callistic and Aesthetic Concepts in the Works of Plato and Aristotle. Philosophical Quarterly 14 (54):87.score: 150.0
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  25. Derek Matravers (2002). Aesthetic Concepts: Essays After Sibley. Mind 111 (444):912-916.score: 150.0
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  26. Mark Meli (2003). Japanese Aesthetic Concepts and Phenomenological Inquiry. Analecta Husserliana 78:243-252.score: 150.0
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  27. Patricia Sloane (1970). Aesthetic Concepts and Education. Journal of Critical Analysis 2 (3):48-50.score: 150.0
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  28. Karen A. Hamblen (1986). Exploring Contested Concepts for Aesthetic Literacy. Journal of Aesthetic Education 20 (2):67-76.score: 126.0
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  29. Rafael De Clercq (2002). The Concept of an Aesthetic Property. Journal of Aesthetics and Art Criticism 60 (2):167–176.score: 122.0
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  30. Tim Thornton (2007). An Aesthetic Grounding for the Role of Concepts in Experience in Kant, Wittgenstein and McDowell. Forum Philosophicum: International Journal for Philosophy 12 (2).score: 120.0
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  31. G. Pollock (2004). Thinking the Feminine: Aesthetic Practice as Introduction to Bracha Ettinger and the Concepts of Matrix and Metramorphosis. Theory, Culture and Society 21 (1):5-65.score: 120.0
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  32. Noboru Tanaka (2007). Concepts of Aesthetic Education: Japanese and European Perspectives ‐ Edited by Yasuo Imai and Christoph Wulf. British Journal of Educational Studies 55 (4):482-483.score: 120.0
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  33. Krzysztof Guczalski (2012). Henryk Elzenberg as a Forerunner of Anglo-American Concepts of Expression; Emotional Colouring as an Aesthetic Phenomenon. Estetika:191-231.score: 120.0
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  34. 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.score: 106.0
    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 (...)
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  35. Yvonne Sherratt (2007). Adorno's Aesthetic Concept of Aura. Philosophy and Social Criticism 33 (2):155-177.score: 100.0
    Philosophers within the discipline of the history of philosophy have long since demonstrated a preoccupation with the history of aesthetic ideas. However, not all aesthetic concepts in 19th- and 20th-century thought have been given an adequate analysis. One concept which, while attracting interest in literary theory debates, has rarely been mentioned in history of philosophy debates, is that of aura . The reason for the marginal role of aura in present debates is due no doubt to the (...)
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  36. G. Anthony Bruno (2009). Aesthetic Value, Intersubjectivity and the Absolute Conception of the World. Postgraduate Journal of Aesthetics 6 (3).score: 98.0
    In the Critique of the Power of Judgment, Kant diagnoses an antinomy of taste: either determinate concepts exhaust judgments of taste or they do not. That is to say, judgments of taste are either objective and public or subjective and private. On the objectivity thesis, aesthetic value is predicable of objects. But determining the concepts that would make a judgment of taste objective is a vexing matter. Who can say which concepts these would be? To what (...)
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  37. Andrew Sneddon (2010). Thick Concepts and Holism About Reasons. Journal of Value Inquiry 44 (4):461-468.score: 78.0
    Thick moral concepts are a topic of particular disagreement in discussions of reasons holism. These concepts, such as justice, are called “thick” because they have both evaluative and descriptive aspects. Thin moral concepts, such as good, are purely evaluative. The disagreement concerns whether the fact that an action is, for example, just always a reason in favor of performing that action. The present argument follows Jonathan Dancy’s strategy of connecting moral reasons and concepts to those in (...)
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  38. Silvana Borutti (2013). Wittgenstein's Concepts for an Aesthetics: Judgment and Understanding of Form. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1):55-66.score: 76.0
    My paper seeks to maintain that in Wittgenstein there is more than the simple and obvious negation of artistic quality as the property of things, and thus a criticism of any essentialism. My reasoning will connect Wittgenstein’s evaluative idea of the aesthetic with its philosophical conception of Aspekt and the self-revealing character of the form. The themes this paper deals with are: the aesthetic judgment; the sensitivity toward rules; the aesthetic judgment as an example of the understanding (...)
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  39. Ha Poong Kim (2006). Confucius's Aesthetic Concept of Noble Man: Beyond Moralism. Asian Philosophy 16 (2):111 – 121.score: 70.0
    The prevailing interpretation of ren (humanness) in the Analects is ethical. One consequence of this interpretation is the one-dimensional image of the Confucian junzi (noble man) as a rigid moralist, a fastidious observer of li (ritual). But there are numerous passages in the Analects that resist such a one-sided representation of the junzi, especially Confucius's remarks related to the (Book of) Songs and music. My basic thesis is that Confucius's concept of junji is aesthetic. This is implied by his (...)
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  40. Anna Bergqvist (2010). Why Sibley is Not a Generalist After All. British Journal of Aesthetics 50 (1):1-14.score: 68.0
    In his influential paper, ‘General Criteria and Reasons in Aesthetics’, Frank Sibley outlines what is taken to be a generalist view (shared with Beardsley) such that there are general reasons for aesthetic judgement, and his account of the behaviour of such reasons, which differs from Beardsley's. In this paper my aim is to illuminate Sibley's position by employing a distinction that has arisen in meta-ethics in response to recent work by Jonathan Dancy in particular. Contemporary research involves two related (...)
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  41. Samantha Matherne (2013). The Inclusive Interpretation of Kant's Aesthetic Ideas. British Journal of Aesthetics 53 (1):21-39.score: 68.0
    In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of (...) ideas, according to which they can present not only moral and purely rational concepts but also empirical concepts and emotions related to our ordinary experience. Although this latter class of experience-oriented aesthetic ideas has been neglected, I argue that recognizing the role it plays in Kant’s account is crucial for understanding his views not only of artistic production and our experience of art but also of the value he takes art to have for our ordinary experience of the world, others, and our own selves. What is more, insofar as the inclusive interpretation brings to light Kant’s acknowledgement of the close connection between experience and art, it reveals that his overall view of art is more plausible than is often thought, and recommends it as worthy of further consideration. (shrink)
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  42. Melissa McBay Merritt (2010). Kant on the Transcendental Deduction of Space and Time: An Essay on the Philosophical Resources of the Transcendental Aesthetic. Kantian Review 14 (2):1-37.score: 66.0
    I take up Kant's remarks about a "transcendental deduction" of the "concepts of space and time" (A87/B119-120). I argue for the need to make a clearer assessment of the philosophical resources of the Aesthetic in order to account for this transcendental deduction. Special attention needs to be given to the fact that the central task of the Aesthetic is simply the "exposition" of these concepts. The Metaphysical Exposition reflects upon facts about our usage to reveal our (...)
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  43. Charles DeBord (2012). Geist and Communication in Kant's Theory of Aesthetic Ideas. Kantian Review 17 (2):177-190.score: 66.0
    In his Critique of the Power of Judgement, Kant explicates the creation of works of fine art (schöne Kunst) in terms of aesthetic ideas. His analysis of aesthetic ideas claims that they are not concepts (Begriffe) and are therefore not definable or describable in determinate language. Nevertheless, Kant claims that aesthetic ideas are communicable via spirit (Geist), a special mental ability he associates with artistic genius. This paper argues that Kant's notion of Geist is central to (...)
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  44. Andrea Sauchelli (2014). Sibley on ‘Beautiful’ and ‘Ugly’. Philosophical Papers 43 (3):377-404.score: 66.0
    Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss (...)
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  45. Chen Jian (2013). A Discussion of'A Harmonious Personality': An Analysis of the Basic Concepts of Zhou Laixiang's Thoughts on Aesthetics Education. Journal of Aesthetic Education 1:015.score: 66.0
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  46. Meg Harris Williams (2010). The Aesthetic Development: The Poetic Spirit of Psychoanalysis: Essays on Bion, Meltzer, Keats. Karnac.score: 64.0
    Psychoanalysis : an art or a science? -- Aesthetic concepts of Bion and Meltzer -- The domain of the aesthetic object -- Sleeping beauty -- Moving beauty -- Psychoanalysis as an art form.
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  47. Malcolm Budd (2006). The Characterization of Aesthetic Qualities by Essential Metaphors and Quasi-Metaphors. British Journal of Aesthetics 46 (2):133-143.score: 62.0
    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 (...)
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  48. John Baldacchino (2011). 'Relative Ignorance': Lingua and Linguaggio in Gramsci's Concept of a Formative Aesthetic as a Concern for Power. Educational Philosophy and Theory 43 (6):579-597.score: 62.0
    This essay looks at the relationship between formative aesthetics, language and the historical anticipation that begins with Antonio Gramsci's discussion of Kant's idea of noumenon. In Gramsci both education (as formazione) and aesthetics stem from a concern for power in terms of the hegemonic relations that are inherent to history as a political horizon. The title cites Gramci's suggestion that Kant's noumenon should be read as a proviso set apart by a ‘relative ignorance’ of reality [‘relativa ignoranza’ della realtà] to (...)
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  49. Robert Stecker (2006). Aesthetic Experience and Aesthetic Value. Philosophy Compass 1 (1):1–10.score: 60.0
    What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.
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  50. Fiona Hughes (2006). On Aesthetic Judgement and Our Relation to Nature: Kant's Concept of Purposiveness. Inquiry 49 (6):547-572.score: 60.0
    I offer a critical reconstruction of Kant's thesis that aesthetic judgement is founded on the principle of the purposiveness of nature. This has been taken as equivalent to the claim that aesthetics is directly linked to the systematicity of nature in its empirical laws. I take issue both with Henry Allison, who seeks to marginalize this claim, and with Avner Baz, who highlights it in order to argue that Kant's aesthetics are merely instrumental for his epistemology. My solution is (...)
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