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: 118.0
    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. Joseph Thomas Tolliver (2012). Tales of the Ineffable: Crafting Concepts in Aesthetic Experience. Philosophical Studies 161 (1):153-162.score: 108.0
    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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  3. Emily Brady & Jerrold Levinson (eds.) (2001). Aesthetic Concepts: Essays After Sibley. Oxford University Press.score: 100.0
    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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  4. Rafael De Clercq (2002). The Concept of an Aesthetic Property. Journal of Aesthetics and Art Criticism 60 (2):167–176.score: 98.0
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  5. 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: 94.0
    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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  6. Ralph Alexander Smith (ed.) (1970). Aesthetic Concepts and Education. Urbana,University of Illinois Press.score: 94.0
  7. R. David Broiles (1964). Frank Sibley's "Aesthetic Concepts". Journal of Aesthetics and Art Criticism 23 (2):219-225.score: 92.0
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  8. Roman Bonzon (2009). Thick Aesthetic Concepts. Journal of Aesthetics and Art Criticism 67 (2):191-199.score: 92.0
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  9. Derek Matravers (1996). Aesthetic Concepts and Aesthetic Experiences. British Journal of Aesthetics 36 (3):265-279.score: 92.0
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  10. Peter Kivy (1979). Aesthetic Concepts: Some Fresh Considerations. Journal of Aesthetics and Art Criticism 37 (4):423-432.score: 92.0
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  11. Gary Stahl (1971). Sibley's "Aesthetic Concepts": An Ontological Mistake. Journal of Aesthetics and Art Criticism 29 (3):385-389.score: 92.0
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  12. R. Meager (1970). Aesthetic Concepts. British Journal of Aesthetics 10 (4):303-322.score: 92.0
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  13. Aaron Meskin (2004). Aesthetic Concepts: Essays After Sibley. [REVIEW] British Journal of Aesthetics 44 (1):90-93.score: 92.0
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  14. J. F. Logan (1967). More on Aesthetic Concepts. Journal of Aesthetics and Art Criticism 25 (4):401-406.score: 92.0
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  15. Ondřej Dadejík & Štěpán Kubalík (2013). Some Remarks on Descriptive and Negative Aesthetic Concepts: A Critical Note. Estetika: The Central European Journal of Aesthetics 2:206-211.score: 92.0
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  16. Frank Sibley (1959). Aesthetic Concepts. Philosophical Review 68 (4):421-450.score: 90.0
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  17. Frank Sibley (1963). Aesthetic Concepts: A Rejoinder. Philosophical Review 72 (1):79-83.score: 90.0
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  18. H. R. G. Schwyzer (1963). Sibley's "Aesthetic Concepts". Philosophical Review 72 (1):72-78.score: 90.0
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  19. Derek Matravers (2002). Review: Aesthetic Concepts: Essays After Sibley. [REVIEW] Mind 111 (444):912-916.score: 90.0
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  20. Peter Kivy (1981). Secondary Senses and Aesthetic Concepts: A Reply to Professor Tilghman. Philosophical Investigations 4 (1):35-38.score: 90.0
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  21. E. Schellekens (2002). Aesthetic Concepts--Essays After Sibley. Australasian Journal of Philosophy 80 (4):536-538.score: 90.0
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  22. Ronald Hepburn (2003). Brady, Emily, and Jerrold Levinson, Eds. Aesthetic Concepts: Essays After Sibley. Review of Metaphysics 56 (3):635-637.score: 90.0
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  23. 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: 90.0
  24. Isabel C. Hungerland (1962). The Logic of Aesthetic Concepts. Proceedings and Addresses of the American Philosophical Association 36:43 - 66.score: 90.0
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  25. Lesley Wright (2003). Aesthetic Implicitness in Sport and the Role of Aesthetic Concepts. Journal of the Philosophy of Sport 30 (1):83-92.score: 90.0
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  26. 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: 90.0
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  27. Derek Matravers (2002). Aesthetic Concepts: Essays After Sibley. Mind 111 (444):912-916.score: 90.0
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  28. Mark Meli (2003). Japanese Aesthetic Concepts and Phenomenological Inquiry. Analecta Husserliana 78:243-252.score: 90.0
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  29. Patricia Sloane (1970). Aesthetic Concepts and Education. Journal of Critical Analysis 2 (3):48-50.score: 90.0
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  30. Karen A. Hamblen (1986). Exploring Contested Concepts for Aesthetic Literacy. Journal of Aesthetic Education 20 (2):67-76.score: 78.0
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  31. G. Anthony Bruno (2009). Aesthetic Value, Intersubjectivity and the Absolute Conception of the World. Postgraduate Journal of Aesthetics 6 (3).score: 74.0
    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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  32. Krzysztof Guczalski (2012). Henryk Elzenberg as a Forerunner of Anglo-American Concepts of Expression; Emotional Colouring as an Aesthetic Phenomenon. Estetika: The Central European Journal of Aesthetics:191-231.score: 74.0
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  33. Yvonne Sherratt (2007). Adorno's Aesthetic Concept of Aura. Philosophy and Social Criticism 33 (2):155-177.score: 72.0
    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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  34. 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: 72.0
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  35. 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: 72.0
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  36. 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: 72.0
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  37. 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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  38. Andrew Sneddon (2010). Thick Concepts and Holism About Reasons. Journal of Value Inquiry 44 (4):461-468.score: 66.0
    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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  39. James Grant (2013). The Critical Imagination. Oxford University Press.score: 60.0
    The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, (...)
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  40. Samantha Matherne (2013). The Inclusive Interpretation of Kant's Aesthetic Ideas. British Journal of Aesthetics 53 (1):21-39.score: 56.0
    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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  41. 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: 54.0
    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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  42. Charles DeBord (2012). Geist and Communication in Kant's Theory of Aesthetic Ideas. Kantian Review 17 (2):177-190.score: 54.0
    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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  43. Meg Harris Williams (2010). The Aesthetic Development: The Poetic Spirit of Psychoanalysis: Essays on Bion, Meltzer, Keats. Karnac.score: 52.0
    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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  44. 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: 52.0
    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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  45. Malcolm Budd (2006). The Characterization of Aesthetic Qualities by Essential Metaphors and Quasi-Metaphors. British Journal of Aesthetics 46 (2):133-143.score: 50.0
    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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  46. Maxine Sheets-Johnstone (2012). From Movement to Dance. Phenomenology and the Cognitive Sciences 11 (1):39-57.score: 48.0
    This article begins with a summary phenomenological analysis of movement in conjunction with the question of “quality” in movement. It then specifies the particular kind of memory involved in a dancer’s memorization of a dance. On the basis of the phenomenological analysis and specification of memory, it proceeds to a clarification of meaning in dance. Taking its clue from the preceding sections, the concluding section of the article sets forth reasons why present-day cognitive science is unable to provide insights into (...)
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  47. Robert Stecker (2006). Aesthetic Experience and Aesthetic Value. Philosophy Compass 1 (1):1–10.score: 48.0
    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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  48. Robert Bird (2004). The Suspended Aesthetic: Slavoj Žižek on Eastern European Film. Studies in East European Thought 56 (4):357-382.score: 48.0
    Slavoj iek's writings on Krzysztof Kies´lowski and Andrej Tarkovskij represent direct challenges to the Central and Eastern European tradition of spiritual art and to dominant aesthetic concepts as such. He refuses to separate the solemn films of Kies´lowski and Tarkovskij from popular culture and stresses their import as ethical statements by their directors. Despite this ethical emphasis, iek makes an important contribution to philosophical aesthetics. He implicitly defines art as a suspension of reality which reveals time in its (...)
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  49. Bart Vandenabeele (2007). Schopenhauer on the Values of Aesthetic Experience. Southern Journal of Philosophy 45 (4):565-582.score: 48.0
    In this essay, I argue that Schopenhauer’s view of the aesthetic feelings of the beautiful and the sublime shows how a “dialectical” interpretation that homogenizes both aesthetic concepts and reduces thediscrepancy between both to merely quantitative differences is flawed. My critical analysis reveals a number of important tensions in both Schopenhauer’s own aesthetic theory—which does not ultimately succeed in “merging” Plato’s and Kant’s approaches—and the interpretation that unjustly reduces the value of aesthetic experience to a (...)
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  50. Bed P. Paudyal (2009). Mimesis in Adorno's Aesthetic Theory. Journal of Philosophy: A Cross-Disciplinary Inquiry 4 (8):1-10.score: 48.0
    The essay focuses on the concept of mimesis Theodor W. Adorno developed in his Aesthetic Theory. After outlining key motifs of Adorno’s critical theory so as to provide the overall intellectual context, it explains why for Adorno mimesis enacts an ethical relation to the (non-identical) other. Mimesis for Adorno, the paper suggests, counters the violence that reason inflicts on the objects of its cognition by reconstituting the latter in terms of reason’s concepts. The essay discusses mimesis also in (...)
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