Search results for 'Aesthetics Terminology' (try it on Scholar)

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  1.  19
    Evental Aesthetics (2015). Evolution and Aesthetics. Evental Aesthetics 4 (2):1-170.
    Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, (...)
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  2.  12
    Evental Aesthetics (2015). Evental Aesthetics: Retropective 1. Evental Aesthetics 4 (1):1-116.
    EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.
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  3.  22
    Evental Aesthetics (2013). Animals and Aesthetics (Volume 2, Number 2, 2013). Evental Aesthetics 2 (2):1-123.
    In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.
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  4.  26
    Evental Aesthetics (2012). Aesthetics After Hegel (Volume 1, Number 1, 2012). Evental Aesthetics 1 (1):1-138.
    This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.
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  5.  19
    Evental Aesthetics (2014). Evental Aesthetics (Vol. 3 No. 1,2014). Evental Aesthetics 3 (1):1-64.
    Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.
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  6.  5
    Grounded Aesthetics (2000). Aesthetics and Modes of Analysis. In Stephen Linstead & Heather Höpfl (eds.), The Aesthetics of Organization. Sage Publications 111.
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  7. James Mark Baldwin (1940). Dictionary of Philosophy and Psychology, Including Many of the Principal Conceptions of Ethics, Logic, Aesthetics, Philosophy of Religion, Mental Pathology, Anthropology, Biology, Neurology, Physiology, Economics, Political and Social Philosophy, Philology, Physical Science, and Education, and Giving a Terminology in English, French, German, and Italian. New York, P. Smith.
  8. James Mark Baldwin (1960). Dictionary of Philosophy and Psychology Including Many of the Principal Conceptions of Ethics, Logic, Aesthetics, Philosophy of Religion, Mental Pathology, Anthropology, Biology, Neurology, Physiology, Economics, Political and Social Philosophy, Philology, Physical Science, and Education; and Giving a Terminology in English, French, German, and Italian. Written by Many Hands and Edited by James Mark Baldwin, with the Co-Operation and Assistance of an International Board of Consulting Editors. P. Smith.
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  9. Dabney Townsend (2006). Historical Dictionary of Aesthetics. Scarecrow Press.
    Aesthetics is not a "factual" discipline; there are no aesthetic facts. The word itself is derived from the Greek word for "feeling" and the discipline arises because of the need to find a place for the passions within epistemology—the branch of philosophy that investigates our beliefs. Aesthetics is more than just the study of beauty; it is a study of that which appeals to our senses, most often in connection with the classification, analysis, appreciation, and understanding of art. (...)
     
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  10. Göran Sörbom (1966). Mimesis and Art. Stockholm, Svenska Bokförlaget (Bonnier).
     
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  11.  4
    Richard M. Shusterman (2007). Somaesthetics and the Revival of Aesthetics. Filozofski Vestnik 2.
    This paper examines the ten-year history of somaesthetics – describing the field's origins and genealogical roots, explaining its terminology, analyzing its structure, tracing its reception, exploring its most interesting applications, and responding to the most important criticisms that have been directed at it. Somaesthetics, as the paper shows, emerges from the framework of my work in pragmatist aesthetics which sought to revive aesthetics by bringing art closer to life and bridging the presumed divide between the aesthetic and (...)
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  12.  10
    Cameron Shelley (1998). Consciousness, Symbols and Aesthetics: A Just-so Story and its Implications in Susanne Langer's Mind: An Essay on Human Feeling. Philosophical Psychology 11 (1):45 – 66.
    Consciousness is a central theme of Susanne Langer's three-volume work Mind: An essay on human feeling. Langer proposes an evolutionary history of consciousness in order to establish a biological vocabulary for discussing the subject. This vocabulary is based on the qualities of organic processes rather than generic material objects. Her historical scenario and new terminology suggest that Langer views the “cash value” of consciousness in terms of symbolic thinking and aesthetics. This paper provides an overview of Langer's proposed (...)
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  13.  7
    Jonathan Maskit (2007). 'Line of Wreckage': Towards a Postindustrial Environmental Aesthetics. Ethics, Place and Environment 10 (3):323 – 337.
    Environmental aesthetics, largely because of its focus on 'natural' rather than artifactual environments, has ignored postindustrial sites. This article argues that this shortcoming stems from the nature-culture divide and that such sites ought to be considered by environmental aestheticians. Three forms of artistic engagement with postindustrial sites are explicated by looking at the work of Serra, Smithson, and others. It is argued that postindustrial art leads to a successively richer ability to see and thus think about such sites. Finally, (...)
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  14. Dabney Townsend (2010). The a to Z of Aesthetics. Scarecrow Press.
    The A to Z of Aesthetics covers its history from Classical Greece to the present, including entries on non-western aesthetics. The book contains a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on the main concepts, terminology, important persons , and the rules and criteria we apply in making judgments on art. By providing concise information on aesthetics, this dictionary is not only accessible to students, but it provides details and facts to (...)
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  15. Florian Cova, Amanda Garcia & Shen-yi Liao (2015). Experimental Philosophy of Aesthetics. Philosophy Compass 10 (12):927-939.
    In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, (...)
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  16.  39
    Edward Green (2005). A Note on Two Conceptions of Aesthetic Realism. British Journal of Aesthetics 45 (4):438-440.
    on great currency in analytic philosophical aesthetics. What is not generally known is that the American philosopher Eli Siegel called the philosophy he founded in the 1940s Aesthetic Realism. His philosophy has as its central principle: ‘The world, art, and self explain each other: each is the aesthetic oneness of opposites.’ Thus, two distinct uses of the same terminology exist, and should not be confused.
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  17. Robin James (2011). Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'. In L. Ryan Musgrave (ed.), Feminist Aesthetics and Philosophy of Art. Springer
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations and unasked (...)
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  18. Allen Carlson (2000). Aesthetics and the Environment: The Appreciation of Nature, Art, and Architecture. Routledge.
    Aesthetics and the Environment presents fresh and fascinating insights into our interpretation of the environment. Traditional aesthetics is often associated with the appreciation of art, but Allen Carlson shows how much of our aesthetic experience does not encompass art but nature--in our response to sunsets, mountains or horizons or more mundane surroundings, like gardens or the view from our window. Carlson argues that knowledge of what it is we are appreciating is essential to having an appropriate aesthetic experience (...)
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  19.  58
    Emily Brady (2003). Aesthetics of the Natural Environment. University of Alabama Press.
    Emily Brady provides a systematic account of aesthetics in relation to the natural environment, offering a critical understanding of what aesthetic appreciation ...
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  20.  10
    Noël Carroll (2001). Beyond Aesthetics: Philosophical Essays. Cambridge University Press.
    Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with (...)
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  21.  21
    Richard Shusterman (1992). Pragmatist Aesthetics: Living Beauty, Rethinking Art. B. Blackwell.
    This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics.
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  22. J. J. Tinguely (2013). Kantian Meta-Aesthetics and the Neglected Alternative. British Journal of Aesthetics 53 (2):211-235.
    In this article, firstly, I begin by articulating four logically different positions Kant has been argued to hold concerning the nature and meaning of ‘aesthetic judgement’ so that, secondly, I may endorse the alternative that has been almost entirely neglected: that is, aesthetic judgement should be understood to be both ‘internalist’ in that the pleasure of taste is a constitutive element of the judgement itself (rather than its external effect or prior referent) and ‘objective’ insofar as the pleasure of taste (...)
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  23. Kendall Walton (2007). Aesthetics—What? Why? And Wherefore? Journal of Aesthetics and Art Criticism 65 (2):147–161.
    It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.
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  24.  90
    Jerrold Levinson (ed.) (1998). Aesthetics and Ethics: Essays at the Intersection. Cambridge University Press.
    This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume (...)
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  25.  41
    Berys Nigel Gaut & Dominic Lopes (eds.) (2001). The Routledge Companion to Aesthetics. Routledge.
    The Routledge Companion to Aesthetics is an indispensable guide and reference source to the major thinkers and topics in aesthetics. Forty-six new entries by a team of renowned international contributors provide clear and up-to-date entries under four headings: historical, from Plato to Derrida; aesthetic theory, from definitions of art to pictorial representation; issues and challenges, from criticism to feminist aesthetics; and the individual arts, from literature to theatre.
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  26.  3
    Daniel Alan Herwitz (2008). Aesthetics: Key Concepts in Philosophy. Continuum.
    Introduction and the birth of aesthetics -- Taste and judgment -- Art and experience -- Modern definitions of art and the problem of new media -- Conclusion: Art and truth.
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  27. Bence Nanay (2014). Philosophy of Perception as a Guide to Aesthetics. In Greg Currie, Aaron Meskin, Matthew Kieran & Jon Robson (eds.), Aesthetics and the Sciences of the Mind.
    The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean by (...)
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  28.  25
    B. R. Tilghman (1991). Wittgenstein, Ethics, and Aesthetics: The View From Eternity. State University of New York Press.
    Clarifies Wittgenstein's ideas about ethics and aesthetics and illustrates how those ideas apply to art history and criticism and to an understanding of the importance of art in people's lives.
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  29.  1
    Hilde Hein & Carolyn Korsmeyer (eds.) (1993). Aesthetics in Feminist Perspective. Indiana University Press.
    "A first-rate introduction to the field, accessible to scholars working from a variety of disciplinary and theoretical perspectives. Highly recommended... " —Choice "... offers both broad theoretical considerations and applications to specific art forms, diverse methodological perspectives, and healthy debate among the contributors.... [an] outstanding volume."—Philosophy and Literature "... this volume represents an eloquent and enlightened attempt to reconceptualize the field of aesthetic theory by encouraging its tendencies toward openness, self-reflexivity and plurality." —Discourse & Society "All of the authors challenge (...)
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  30.  15
    Philip Fisher (1998). Wonder, the Rainbow, and the Aesthetics of Rare Experiences. Harvard University Press.
    This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences.
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  31. Michael Kelly (ed.) (1998). Encyclopedia of Aesthetics. Oxford University Press.
    The first reference of its kind surveys the full breadth of critical thought on art, culture, and society--from classical philosophy to contemporary critical theory. Featuring 600 original articles by distinguished scholars from many fields and countries, it is a comprehensive survey of major concepts, thinkers, and debates about the meaning, uses, and value of all the arts--from painting and sculpture to literature, music, theater, dance, television, film, and popular culture. Of special interest are in-depth surveys of Western aesthetics and (...)
     
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  32.  25
    Wolfgang Welsch (1997). Undoing Aesthetics. Sage Publications.
    Wolfgang Welsch examines global aestheticization phenomena, probes the relationship of aesthetics and ethics, and considers the broad relevance of aesthetics for contemporary thinking. He argues that modes of thought familiar from the aesthetic realm comprise fundamental paradigms for understanding todayÆs reality. The implications for specific and everyday issues are demonstrated in studies of architecture, advertising, the Internet, and our perception of the life world. Surgically precise, innovative, and, above all, relevant, this book is an essential resource, providing the (...)
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  33.  4
    James Kirwan (2005). Sublimity: The Non-Rational and the Irrational in the History of Aesthetics. Routledge.
    In the history of aesthetics, few concepts have been as powerful and as elusive as the idea of the sublime, the "enthusiastic terror" that can possess us when we behold a mountain or a miracle. In his new book, James Kirwan traces the history of the sublime from its emergence in the eighteenth century to its resurgence in contemporary aesthetics. Sublimity addresses the nature of the sublime experience itself, and the function that experience has played, and continues to (...)
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  34.  10
    James W. Manns (1994). Reid and His French Disciples: Aesthetics and Metaphysics. E.J. Brill.
    This book offers a thorough account of Thomas Reid's philosophy, focussing on his expressionist aesthetics, then traces his influence in nineteenth-century ...
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  35.  60
    Oswald Hanfling (ed.) (1992). Philosophical Aesthetics: An Introduction. Open University.
    This volume contains surveys of the main issues in philosophical aesthetics, as discussed by thinkers from ancient Greece to modern times.
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  36.  36
    Michael Kelly (2003). Iconoclasm in Aesthetics. Cambridge University Press.
    Although philosophers have characteristically taken the view that art is a vehicle of some universal meaning or truth, art historians emphasize the concrete, historical location of the individual work of art. Is aesthetics capable of sustaining these two approaches? Or, as Michael Kelly argues: Is art actually determined by its historical particularity? His book covers the views of four philosophers--Heidegger, Adorno, Derrida, and Danto--ultimately iconoclasts, despite their significant philosophical engagement with the arts.
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  37.  24
    Johan Hartle (2014). The Struggle is Beautiful: On the Aesthetics of Leftist Politics. Nordic Journal of Aesthetics 23 (44-45).
    Aesthetic discourse has always openly or secretly been linked to political projects. According to some main strands of aesthetic discourse modern aesthetics mirrors the structure of social and political emancipation and key elements of aesthetic discourse coincide with the political ontology of the left. Marxist and Post-Marxist critics have emphasized that the struggle for emancipation is indirectly present in the historical constitution of aesthetics as a discipline – although in a merely imaginary and displaced form. Therefore, however, it (...)
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  38.  3
    Eva Schaper (ed.) (1983). Pleasure, Preference, and Value: Studies in Philosophical Aesthetics. Cambridge University Press.
    Philosophical aesthetics is an area in which many strands of contemporary philosophical thinking meet. The contributors to this volume are aware of the wider logical, epistemological, moral and metaphysical implications raised by conceptual problems specific to aesthetics. Three themes recur and are taken up from different angles in several of the papers: pleasure – its nature and role in the experience of art and beauty; preference – figuring prominently in aesthetic appraising, appreciating and judging; and value – aesthetic (...)
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  39.  17
    Richard Shusterman (2012). Back to the Future: Aesthetics Today. Nordic Journal of Aesthetics 23 (43).
    This paper originated as the keynote address at the conference “Aesthetics Today” organized by the Finnish Society of Aesthetics to mark its 40th anniversary and was delivered at the University of Helsinki on March 1, 2012. Written for that particular occasion the sense of an oral presentation has been maintained. Shusterman’s point of departure is the thesis that contemporary aesthetics can be characterized by a number of leading themes that mark a return to older aesthetic perspectives, after (...)
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  40.  26
    Karlheinz Lüdeking (2010). The Limits of Conceptual Analysis in Aesthetics. Nordic Journal of Aesthetics 21 (39).
    In order to understand why analytic aesthetics has lost a lot of its former intellectual stature it is necessary to combine historical reconstruction with systematic consideration. In the middle of the twentieth century analytic philosophers came to the conclusion that essentialist theories of the “nature” of art are no longer tenable. As a consequence they felt compelled to move to the meta-level of conceptual analysis. Then they tried to show how a purely classificatory concept of art is used. The (...)
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  41.  26
    Christoph Menke (2010). Not Yet. The Philosophical Significance of Aesthetics. Nordic Journal of Aesthetics 21 (39).
    The paper asks for the preconditions and the consequences of the emergence of aesthetics in and for philosophy. The question is: what does it mean for philosophy to engage the question of the aesthetic? My answer will be: it means nothing less than putting philosophy in question. Or, more precisely: by engaging the question of the aesthetic, philosophy puts itself in question. In order to show this, I will refer to a brief passage in the Phenomenology of the Spirit (...)
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  42.  12
    Peter Osborne (2014). Temporalization as Transcendental Aesthetics - Avant-Garde, Modern, Contemporary. Nordic Journal of Aesthetics 23 (44-45).
    Reflections on the relationship of aesthetics to politics tend to circle, almost compulsively, around a relatively stable set of conceptual oppositions, inherited from German philosophies of the late 18th century. This essay proposes an expansion of the theoretical terms of the debate by extending the field of transcendental aesthetics into the domain of historical temporalization. Fundamental art-historical categories may thereby be incorporated, philosophically transformed, into ‘aesthetics’ as forms of historical temporalization: avant-garde, modern, contemporary. The essay expounds two (...)
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  43.  8
    William Desmond (1986). Art and the Absolute: A Study of Hegel's Aesthetics. State University of New York Press.
    The book draws on the astonishing scope and depths of Hegel's Lectures on Aesthetics, exploring the multifaceted issue of art and the absolute. Why does Hegel ascribe absoluteness to art? What can such absoluteness mean?
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  44.  20
    Carl Dahlhaus (1982). Esthetics of Music. Cambridge University Press.
    This book is an introduction to the esthetics of music. Aesthetics, which were of prime importance in thinking about music in the nineteenth century, are today sometimes suspected of being idle speculation. Yet judgments about music and every sort of musical activity are based on aesthetic presuppositions. Carl Dahlhaus gives an account of developments in the aesthetics of music from the mid-eighteenth century onwards. He combines a historical and systematic approach. Central themes in music are grouped together to (...)
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  45.  15
    Morten Kyndrup (2010). Aesthetics and its Future. Problems and Perspectives. Nordic Journal of Aesthetics 21 (39).
    This presentation argues that the question about “future” presupposes an analysis of the current state of the discipline, which again in turn must be seen in the light of its history. The presentation then unfolds a rough reconstruction of that history from Baumgarten and Kant, over Romanticism’s establishing of the partnership with Art and Truth in the continental tradition and up to 20th century’s settling with especially that tradition, led by endeavours both within art itself, in the art sciences, and (...)
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  46.  3
    Marcella Tarozzi Goldsmith (2001). The Future of Art: An Aesthetics of the New and the Sublime. British Journal of Aesthetics 41 (1).
    By analyzing the three loci of aesthetics -- the subjective, the objective, and the absolute -- the author concludes that only the sublime demonstrates that art is neither subjective nor objective. The one essential component of art is the new, the sole "instrument" that can guarantee art's vitality even when confronted by the nihilistic tendencies of modernit.
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  47.  42
    Monroe C. Beardsley, Lars Aagaard-Mogensen & Luk de Vos (eds.) (1986). Text, Literature, and Aesthetics: In Honor of Monroe C. Beardsley. Rodopi.
    Foreword Large parts of Monroe Beardsley's production in the field of aesthetics treat literature, the theory of meaning, and the philosophy of language. ...
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  48.  16
    Bijoy H. Boruah (1988). Fiction and Emotion: A Study in Aesthetics and the Philosophy of Mind. Oxford University Press.
    Why do people respond emotionally to works of fiction they know are make-believe? Boruah tackles this question, which is fundamental aesthetics and literary studies, from a totally new perspective. Bringing together the various answers that have been offered by philosophers from Aristotle to Roger Scruton, he shows that while some philosophers have denied any rational basis to our emotional responses to fiction, others have argued that the emotions evoked by fiction are not real emotions at all. In response to (...)
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  49.  78
    Paul Crowther (1993). Art and Embodiment: From Aesthetics to Self-Consciousness. Oxford University Press.
    In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing (...)
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  50.  11
    Eliot Deutsch (1975). Studies in Comparative Aesthetics. University Press of Hawaii.
    REFLECTIONS ON SOME ASPECTS OF THE THEORY OF RASA Indian aesthetics, it is often said, consists fundamentally of the theory of rasa — the term rasa being ...
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