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

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  1. Vojko Strahovnik (2004). The Riddle of Aesthetic Principles. Acta Analytica 19 (33):189-208.score: 90.0
    The problem of aesthetic principles and that of the nature of aesthetic reasons get confronted. If aesthetic reasons play an important role in our aesthetic evaluations and judgments, then both some general aesthetic principles and rules could support them (aesthetic generalism) or again their nature may be particularistic (aesthetic particularism). A recent argument in support of aesthetic generalism as proposed by Oliver Conolly and Bashshar Haydar is presented and criticized for (...)
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  2. Oliver Conolly & Bashshar Haydar (2003). Aesthetic Principles. British Journal of Aesthetics 43 (2):114-125.score: 58.0
    We give reasons for our judgements of works of art. (2) Reasons are inherently general, and hence dependent on principles. (3) There are no principles of aesthetic evaluation. Each of these three propositions seems plausible, yet one of them must be false. Illusionism denies (1). Particularism denies (2). Generalism denies (3). We argue that illusionism depends on an unacceptable account of the use of critical language. Particularism cannot account for the connection between reasons and verdicts in criticism. (...)
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  3. Eddy Zemach (1987). Aesthetic Properties, Aesthetic Laws, and Aesthetic Principles. Journal of Aesthetics and Art Criticism 46 (1):67-73.score: 46.0
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  4. Paul B. Jossmann (1970). Optical Illusions and Aesthetic Principles. In Erwin W. Straus & Richard Marion Griffith (eds.), Aisthesis and Aesthetics. Pittsburgh, Pa.,Duquesne University Press. 107.score: 46.0
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  5. Malcolm Budd (1999). Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties. European Journal of Philosophy 7 (3):295–311.score: 45.0
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  6. Anna Bergqvist (2010). Why Sibley is Not a Generalist After All. British Journal of Aesthetics 50 (1):1-14.score: 43.0
    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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  7. X. I. E. da-Weia & Ding Junb (2011). The Aesthetic Value and Designing Principles of University Campus Landscape. Journal of Aesthetic Education 5:018.score: 39.0
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  8. Amir Konigsberg (2012). The Acquaintance Principle, Aesthetic Autonomy, and Aesthetic Appreciation. British Journal of Aesthetics 52 (2):153-168.score: 37.0
    The acquaintance principle (AP) and the view it expresses have recently been tied to a debate surrounding the possibility of aesthetic testimony, which, plainly put, deals with the question whether aesthetic knowledge can be acquired through testimony—typically aesthetic and non-aesthetic descriptions communicated from person to person. In this context a number of suggestions have been put forward opting for a restricted acceptance of AP. This paper is an attempt to restrict AP even more.
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  9. Mary Mothersill (1989). Aesthetic Laws, Principles and Properties: A Response to Eddy Zemach. Journal of Aesthetics and Art Criticism 47 (1):77-82.score: 37.0
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  10. Jennifer McErlean (1990). Critical Principles and Emergence in Beardsley's Aesthetic Theory. Journal of Aesthetics and Art Criticism 48 (2):153-156.score: 37.0
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  11. J. McMahon (2000). Perceptual Principles, Aesthetic From, and Notions of Unity. Consciousness and Cognition 9 (2):S79 - S80.score: 36.0
     
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  12. Henrik Kaare Nielsen (2012). Aesthetic Judgement and Political Judgement. Nordic Journal of Aesthetics 23 (43).score: 28.0
    Prominent positions in the contemporary theoretical field of the humanities tend to conceptualize late modern communities in general as aesthetic communities of taste. In regard to political communities, this means reducing the political to an implication of the aesthetic discourse. This article argues for addressing the aesthetic and the political as distinct discourses that are, on the other hand, always engaged with each other in a conflictual interplay. Both discourses draw on and appeal to the ability of (...)
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  13. Xialing Xie (2009). Aesthetic Judgment: The Power of the Mind in Understanding Confucianism. [REVIEW] Frontiers of Philosophy in China 4 (1):38-51.score: 27.0
    Mou Zongsan incorrectly uses Kant’s practical reason to interpret Confucianism. The saying that “what is it that we have in common in our minds? It is the li 理 (principles) and the yi 义 (righteousness)” reveals how Mencius explains the origin of li and yi through a theory of common sense. In “the li and the yi please our minds, just as the flesh of beef and mutton and pork please our mouths,” “please” is used twice, proving aesthetic (...)
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  14. Peter Howarth (2007). Creative Writing and Schiller's Aesthetic Education. Journal of Aesthetic Education 41 (3):41-58.score: 27.0
    : In higher education creative writing's focus on producing the well-formed piece rather than the writing's historical and social context puts its pedagogy at odds with the majority of literary studies disciplines. Although problematic for the curriculum, there are good reasons—stemming from the anti-instrumentalism of Kant's notion of aesthetic freedom—why integrating creative writing is difficult. Examining two recent attempts to cross this creative-critical divide by making creative writing part of cultural studies, the article argues that the authors' sociological suspicion (...)
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  15. Xie Xialing & Gao Limin (2009). Aesthetic Judgment: The Power of the Mind in Understanding Confucianism. Frontiers of Philosophy in China 4 (1):38 - 51.score: 27.0
    Mou Zongsan incorrectly uses Kant's practical reason to interpret Confucianism. The saying that "what is it that we have in common in our minds? It is the il 理 (principles) and the yi 义 (righteousness)" reveals how Mencius explains the origin of il and yi through a theory of common sense. In "the li and the yi please our minds, just as the flesh of beef and mutton and pork please our mouths," "please" is used twice, proving aesthetic (...)
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  16. Malcolm Budd (2008). Aesthetic Essays. Oxford University Press.score: 26.0
    Introduction -- Aesthetic judgements, aesthetic principles, and aesthetic properties -- Aesthetic essence -- The acquaintance principle -- The intersubjective validity of aesthetic judgements -- The pure judgement of taste as an aesthetic reflective judgement -- Understanding music -- The characterization of aesthetic qualities by essential metaphors and quasi-metaphors -- Musical movement and aesthetic metaphors -- Aesthetic realism and emotional qualities of music -- On looking at a picture -- The look (...)
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  17. Anton Moser (2000). The Wisdom of Nature in Integrating Science, Ethics and the Arts. Science and Engineering Ethics 6 (3):365-382.score: 24.0
    This paper deals with an approach to the integration of science (with technology and economics), ethics (with religion and mysticism), the arts (aesthetics) and Nature, in order to establish a world-view based on holistic, evolutionary ethics that could help with problem solving. The author suggests that this integration is possible with the aid of “Nature’s wisdom” which is mirrored in the macroscopic pattern of the ecosphere. The corresponding eco-principles represent the basis for unifying soft and hard sciences resulting in (...)
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  18. M. Muraskin (1980). Aesthetic Fields—Null Theory. Foundations of Physics 10 (11-12):887-903.score: 24.0
    We have studied aesthetic field theory in the case where all invariants constructed from Γ jk i and involving g ij are zero. We studied such a “null” theory in 1972, but the cases we cited were plagued with singularities. By introducing complex fields the situation with respect to singularities improved. Complex fields are consistent with the basic “aesthetic principles” we outlined earlier. Within our null theory we see in two-dimensional spacetime a scattering of particles that was (...)
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  19. Ming Dong Gu (2009). From Yuanqi (Primal Energy) to Wenqi (Literary Pneuma): A Philosophical Study of a Chinese Aesthetic. Philosophy East and West 59 (1):pp. 22-46.score: 24.0
    Wenqi 文氣 (literary pneuma) is a foundational idea in Chinese aesthetics. It has remained elusive since its initial formulation, however. This is so largely because previous scholars did not examine its ontological and epistemological conditions in analytic terms, still less explore its implications in a conceptual framework of artistic creation. Here, it is proposed to explore its general as well as specific implications against the larger background of Chinese intellectual thought and in relation to contemporary theories of literature and aesthetics. (...)
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  20. M. Muraskin & B. Ring (1975). A Two-Particle Collision in Aesthetic Field Theory. Foundations of Physics 5 (3):513-523.score: 24.0
    We have found a new computer solution to the aesthetic field equations. This solution describes a two-particle system with more structure than previously found. The contour lines show an arm structure. We have observed four arms around the maximum center. The location of the maximum (minimum) center is not along a straight line as a function of time. This is the first time that such an effect has been observed for any kind of nonlinear partial differential equation, so far (...)
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  21. Dale Jacquette (1994). Schopenhauer on the Antipathy of Aesthetic Genius and the Charming. History of European Ideas 18 (3):373-385.score: 24.0
    Schopenhauer regards the ability to experience purely disinterested perception as the mark of aesthetic genius. Experience of the world as representation without interference of the individual will leads genius through imagination to grasp the Platonic Ideas underlying appearance, and then in a willful act of communication to depict the ideal in art. Schopenhauer's thesis that aesthetic genius is incompatible with the charming in still- life paintings of foods and historical paintings of nudes is criticized as inadequately supported by (...)
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  22. Adrian M. S. Piper (2009). Intuition and Concrete Particularity in Kant's Transcendental Aesthetic. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.score: 22.0
    By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make (...)
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  23. James Shelley (2004). Hume's Principles of Taste: A Reply to Dickie. British Journal of Aesthetics 44 (1):84-89.score: 22.0
    George Dickie argues that Hume's principles of taste have value-laden properties as their subjects, including those properties we now refer to as ‘aesthetic’. I counter that Hume's principles have value-neutral properties as their subjects, and so exclude those properties we now refer to as ‘aesthetic’. Dickie also argues that Hume's essay on taste provides ‘the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties of artworks’. I counter that the (...)
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  24. Adrian Piper (2009). Intuition and Concrete Particularity in Kant's Transcendental Aesthetic. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.score: 22.0
    By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 1 These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to (...)
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  25. George Dickie (2003). James Shelley on Critical Principles. British Journal of Aesthetics 43 (1):57-64.score: 22.0
    James Shelley claims that Hume's principles of taste have value-neutral subjects rather than value-laden ones that, for example, refer to aesthetic properties. I try to rebut his claim. I argue that Hume's essay on taste contains the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties in artworks, even if he does not explicitly make this point. I also deny Shelley's contention that I claim that principles are used as part (...)
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  26. Ruben Berrios, Anti-Realism and Aesthetic Cognition.score: 21.0
    Ruben Berrios Queen’s University Belfast Anti-realism and Aesthetic Cognition Abstract At the core of the debate between scientific realism and anti-realism is the question of the relation between scientific theory and the world. The realist possesses a mimetic conception of the relation between theory and reality. For the realist, scientific theories represent reality. The anti-realist, in contrast, seeks to understand the relations between theory and world in non-mimetic terms. We will examine Cartwright’s simulacrum account of explanation in order to (...)
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  27. Aaron Smuts (2011). Grounding Moralism: Moral Flaws and Aesthetic Properties. Journal of Aesthetic Education 45 (4):34-53.score: 21.0
    My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral flaws with an (...)
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  28. Rob van Gerwen (1995). Kant's Regulative Principle of Aesthetic Excellence: The Ideal Aesthetic Experience. Kant-Studien 86 (3):331-345.score: 21.0
    It is rather intriguing that we will often try to persuade people of what we find beautiful, even though we do not believe that they may subsequently base their judgement of taste on our testimony. Typically, we think that the experience of beauty is such that we cannot leave it to others to be had. Moreover, we are often aware of the contingency of our own judgements’ foundation in our own experience. Nevertheless, we do think that certain aesthetic, evaluative (...)
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  29. Murray Muraskin & Beatrice Ring (1977). Increased Complexity in Aesthetic Field Theory. Foundations of Physics 7 (5-6):451-458.score: 21.0
    We continue the program of looking for increased complexity within aesthetic field theory. We study a solution with five planar maxima and minima. Another solution in which we counted 19 planar maxima and minima is also studied. This latter solution was obtained by modifying our previous principles by allowing for an arbitrariness associated with the integration path in conjunction with the equation Γ jk:1 i =0.
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  30. Murray Muraskin & Beatrice Ring (1974). Particle Behavior in Aesthetic Field Theory. Foundations of Physics 4 (3):395-405.score: 21.0
    We discuss the structure of a particle system obtained in “aesthetic” field theory and study the evolution of this system in time. We find the particle system to have more structure than particles found by other authors investigating particlelike behavior in nonlinear field theories. Our particle system has a maximum center in proximity to a minimum center. Thus, we can interpret our system as being constructed of two bodies. We find that the maximum center and the minimum center move (...)
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  31. Charlene Haddock Seigfried (1984). The Positivist Foundation in William James's "Principles". Review of Metaphysics 37 (3):579 - 593.score: 21.0
    In "the principles of psychology" james both claimed to be putting psychology on a firm foundation as a natural science in the positivist sense and argued that the positivist program was untenable. this inconsistency is partially the result of the transitional character of the "principles" but, more fundamentally, a reflection of the traditional division between science as objective knowledge of an independent reality and the subjective moral realm of human agency. this paper explains why james was as yet (...)
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  32. Valerij Gretchko (2003). Aesthetic Conception of Russian Formalism. Sign Systems Studies 31 (2):523-531.score: 21.0
    At present the theory of Russian Formalism becomes actual once again owing to the rapid development of cognitive science. Aesthetic theories recently put forward within the framework of cognitive science turned out to be consonant with the Formalist’s views on the general principles of artistic activity. In my paper I argue that (1) the theory of Russian Formalism contains a number of methodological assumptions that are close to a cognitive approach; (2) some of the main principles of (...)
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  33. Jane Kneller (2002). Aesthetic Value and the Primacy of the Practical in Kant's Philosophy. Journal of Value Inquiry 36 (2):369-382.score: 21.0
    Kant's account of aesthetic value is easily ignored or subordinated by the recent stress on the primacy of the practical in his system. For Kant, vindicating reason not only requires a methodological distinction between principles of thought and knowledge on the one side, and of action and morality on the other, but the introduction of a third "faculty," feeling, along with its own principle of judgment. Christine Korsgaard has interpreted Kant's overall account of rationality in terms of a (...)
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  34. Antony Aumann (2014). The Relationship Between Aesthetic Value and Cognitive Value. Journal of Aesthetics and Art Criticism 72 (2):117-127.score: 19.0
    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 (...)
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  35. Caj Strandberg (2011). A Structural Disanalogy Between Aesthetic and Ethical Value Judgements. British Journal of Aesthetics 51 (1):51-67.score: 19.0
    It is often suggested that aesthetic and ethical value judgements are similar in such a way that they should be analysed in analogous manners. In this paper, I argue that the two types of judgements share four important features concerning disagreement, motivation, categoricity, and argumentation. This, I maintain, helps to explain why many philosophers have thought that aesthetic and ethical value judgements can be analysed in accordance with the same dispositional scheme which corresponds to the analogy between secondary (...)
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  36. 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: 19.0
    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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  37. Rafael de Clercq (2005). Aesthetic Terms, Metaphor, and the Nature of Aesthetic Properties. Journal of Aesthetics and Art Criticism 63 (1):27–32.score: 19.0
    The paper argues that an important class of aesthetic terms cannot be used as metaphors because it is impossible to commit a category mistake with them. It then uses this fact to provide a general definition of 'aesthetic property'.
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  38. Andrea Sauchelli (2013). Functional Beauty, Perception, and Aesthetic Judgements. British Journal of Aesthetics 53 (1):41-53.score: 19.0
    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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  39. Crispin Sartwell (2011). The Shape of the World: What If Aesthetic Properties Were Real? Nordic Journal of Aesthetics 22 (40-41).score: 19.0
    Perhaps we should entertain the idea that aesthetic properties are no less (but no more) objective than properties like weight or shape. Indeed, the weight and shape of something are themselves aesthetic properties of that thing. And we might speculate or (what the heck) assert that aesthetic properties are no more (but no less) socially constructed than size or material composition, for example. Indeed the size and material composition of something are aesthetic properties of it. We (...)
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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: 19.0
    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 aesthetic ideas, according (...)
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  41. G. Anthony Bruno (2009). Aesthetic Value, Intersubjectivity and the Absolute Conception of the World. Postgraduate Journal of Aesthetics 6 (3).score: 19.0
    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 authority does one (...)
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  42. Asbjørn Grønstad (2012). Is There a Transmedial Dispositif? Aesthetic Epistemes and the Question of Disciplinarity. Nordic Journal of Aesthetics 23 (42).score: 19.0
    In this article, I argue that one has yet to acknowledge the extent to which the notion of the aesthetic and its content is institutionally negotiated. A central question that we ought to bear in mind is: does the organization of “aesthetic knowledge” that the traditional disciplines facilitate promote or prevent insight into meta-aesthetic and transaesthetic concerns?
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  43. Asa Kasher & Amos Yadlin (2006). Military Ethics of Fighting Terror: Principles. Philosophia 34 (1):75-84.score: 18.0
    The purpose of the present document is to briefly present principles that constitute a new doctrine within the sphere of Military Ethics: The Just War Doctrine of Fighting Terror.The doctrine has been developed by a team we have headed at the Israel Defense Force (IDF) College of National Defense. However, the work has been done on the general levels of moral, ethical and legal considerations that should guide a democratic state when it faces terrorist activities committed against its citizens. (...)
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  44. 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: 18.0
    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 commitment to (...)
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  45. John W. Lango (2005). Preventive Wars, Just War Principles, and the United Nations. Journal of Ethics 9 (1-2):247 - 268.score: 18.0
    This paper explores the question of whether the United Nations should engage in preventive military actions. Correlatively, it asks whether UN preventive military actions could satisfy just war principles. Rather than from the standpoint of the individual nation state, the ethics of preventive war is discussed from the standpoint of the UN. For the sake of brevity, only the legitimate authority, just cause, last resort, and proportionality principles are considered. Since there has been disagreement about the specific content (...)
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  46. John Milliken (2006). Aristotle's Aesthetic Ethics. Southern Journal of Philosophy 44 (2):319-339.score: 18.0
    It is sometimes asked whether virtue ethics can be assimilated by Kantianism or utilitarianism, or if it is a distinct position. A look atAristotle’s ethics shows that it certanly can be distinct. In particular, Aristotle presents us with an ethics of aesthetics in contrast to themore standard ethics of cognition: A virtuous agent identifies the right actions by their aesthetic qualities. Moreover, the agent’s concernwith her own aesthetic character gives us a key to the important role the emotions (...)
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  47. Kimberley Brownlee (2009). Normative Principles and Practical Ethics: A Response to O'Neill. Journal of Applied Philosophy 26 (3):231-237.score: 18.0
    abstract This article briefly examines Onora O'Neill's account of the relation between normative principles and practical ethical problems with an eye to suggesting that philosophers of practical ethics have reason to adopt fairly high moral ambitions to be edifying and instructive both as educators and as advisors on public policy debates.
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  48. Joseph Raz, Rescuing Jerry From (Basic) Principles.score: 18.0
    I will say something on two or three related but distinct topics. First, something on the grounding of normative beliefs, a topic – as I see it – in moral epistemology, and then after a brief remark on explanation, something against a certain understanding of basic principles. My observations were prompted by reflection on Jerry’s desire to rescue justice from the facts.
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  49. Luke Robinson (2011). Moral Principles As Moral Dispositions. Philosophical Studies 156 (2):289-309.score: 18.0
    What are moral principles? In particular, what are moral principles of the sort that (if they exist) ground moral obligations or—at the very least—particular moral truths? I argue that we can fruitfully conceive of such principles as real, irreducibly dispositional properties of individual persons (agents and patients) that are responsible for and thereby explain the moral properties of (e.g.) agents and actions. Such moral dispositions (or moral powers) are apt to be the metaphysical grounds of moral obligations (...)
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  50. Stephen J. Davies (2005). Ellen Dissanayake's Evolutionary Aesthetic. Biology and Philosophy 20 (2-3):291-304.score: 18.0
    Dissanayake argues that art behaviors – which she characterizes first as patterns or syndromes of creation and response and later as rhythms and modes of mutuality – are universal, innate, old, and a source of intrinsic pleasure, these being hallmarks of biological adaptation. Art behaviors proved to enhance survival by reinforcing cooperation, interdependence, and community, and, hence, became selected for at the genetic level. Indeed, she claims that art is essential to the fullest realization of our human nature. I make (...)
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