Search results for 'Aesthetics, Comparative' (try it on Scholar)

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  1. Eliot Deutsch (1975). Studies in Comparative Aesthetics. University Press of Hawaii.score: 186.0
    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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  2. G. Hanumantha Rao (1974). Comparative Aesthetics, Eastern and Western. D. V. K. Murthy.score: 180.0
     
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  3. Robert Wilkinson (ed.) (2007). New Essays in Comparative Aesthetics. Cambridge Scholars Pub..score: 180.0
     
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  4. Antanas Andrija Uskas (2005). Traditional Japanese Medieval Aesthetics: Comparative Studies. In Jurate Baranova (ed.), Contemporary Philosophical Discourse in Lithuania. Council for Research in Values and Philosophy. 163.score: 150.0
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  5. Mara Miller (forthcoming). Agricultural as the Image of Aesthetics and Ethics: A Comparative View. Pursuit of Comparative Aesthetics.score: 144.0
     
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  6. Thorsten Botz-Bornstein (2009). Aesthetics and Politics of Space in Russia and Japan: A Comparative Philosophical Study. Lexington Books.score: 138.0
    Introduction -- The historical foundations of Russian and Japanese philosophies -- Space in NOH : plays and icons -- Models of cultural space derived from Nishida Kitar and Semën L. Frank (Basho and Sobornost) -- Space and aesthetics : a dialogue between Nishida Kitar and Mikhail Bakhtin -- From community to time, space, development : Trubetzkoy, Nishida, Watsuji -- Conclusion -- Postface: Resistance and slave nations.
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  7. Kanti Chandra Pandey (1959). Comparative Aesthetics. Varanasi, Chowkhamba Sanskrit Series Office.score: 138.0
    v. 1. Indian aesthetics.--v. 2. Western aesthetics.
     
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  8. A. Lubowski-Jahn (2011). A Comparative Analysis of the Landscape Aesthetics of Alexander von Humboldt and John Ruskin. British Journal of Aesthetics 51 (3):321-333.score: 134.0
    This article compares Alexander von Humboldt's and John Ruskin's writings on landscape art and natural landscape. In particular, Humboldt's conception of a habitat's essence as predominantly composed of vegetation as well as judgment of tropical American nature as the realm of nature of the highest aesthetic enjoyment is examined in the context of Ruskin's aesthetic theory. The magnitude of Humboldt's contribution to the natural sciences seems to have clouded our appreciation of his prominent status in the field of art history. (...)
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  9. Angraj Chaudhary (1991). Comparative Aesthetics, East and West. Eastern Book Linkers.score: 132.0
     
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  10. Helmut Hühn & James Vigus (eds.) (2013). Symbol and Intuition: Comparative Studies in Kantian and Romantic-Period Aesthetics. Maney.score: 132.0
     
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  11. Hariram Jasta (1988). The Search for Beauty: A Comparative Study of Sri Aurobindo's Aesthetics. Distributors, Ajanta Books International.score: 132.0
     
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  12. Barbara Shissler (1961). George Lansing Raymond's Comparative Aesthetics. Journal of Aesthetics and Art Criticism 19 (3):327-337.score: 126.0
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  13. Archie J. Bahm (1965). Comparative Aesthetics. Journal of Aesthetics and Art Criticism 24 (1):109-119.score: 126.0
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  14. Herta Pauly (1967). Inside Kabuki: An Experience in Comparative Aesthetics. Journal of Aesthetics and Art Criticism 25 (3):293-305.score: 126.0
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  15. D. Philbeck (2007). The Pursuit of Comparative Aesthetics: An Inter-Face Between the East and West. British Journal of Aesthetics 47 (1):103-105.score: 126.0
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  16. Kathleen Higgins (2005). Comparative Aesthetics. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oup Oxford.score: 126.0
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  17. Peter Kivy (2009). Fictional Form and Symphonic Structure: An Essay in Comparative Aesthetics. Ratio 22 (4):421-438.score: 122.0
    It is agreed on all hands that both fictional narratives and the familiar genres of classical music possess an inner structure that both can be perceived and be appreciated aesthetically. It is my argument here that this inner structure plays a crucially different role in fictional narrative than it does in classical music, confining myself here to 'absolute music' (which is to say, pure instrumental music without text, programme, dramatic setting, or other 'extra-musical' content). The argument, basically, is that whereas (...)
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  18. L. Renou (1953). Reviews : The Sahitya-Darpana and the History of Sanskrit Poetics. BY P. V. KANE (3d Ed.) Bombay, I95I. Pp. 433+64+345. 8 . Comparative Aesthetics BY K. C. PANDEY. Vol. I. Indian Aesthetics ('Chowkhamba Sanskrit Series', Studies, Vol II). Benares, I950. Pp. 486. [REVIEW] Diogenes 1 (1):127-130.score: 120.0
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  19. Roberto Pinheiro Machado (2008). Nothingness and the Work of Art: A Comparative Approach to Existential Phenomenology and the Ontological Foundation of Aesthetics. Philosophy East and West 58 (2):244-266.score: 120.0
    : This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger’s notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its ultimate (...)
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  20. Roberto Pinheiro Machado (2008). Nothingness and the Work of Art: A Comparative Approach to Existential Phenomenology and the Ontological Foundation of Aesthetics. Philosophy East and West 58 (2):244 - 266.score: 120.0
    This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger's notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its ultimate consequence, (...)
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  21. Richard Sclafani (1977). Is the Tao of Chinese Aesthetics Like a Western Theory of Art? Some Issues in Comparative Aesthetics. Journal of Chinese Philosophy 4 (1):49-62.score: 120.0
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  22. Robert Wilkinson, Nishida and Santayana on Goethe: An Essay in Comparative Aesthetics.score: 120.0
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  23. Teodros Kiros (1985). Alienation and Aesthetics in Marx and Tolstoy: A Comparative Analysis. [REVIEW] Man and World 18 (2):171-184.score: 120.0
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  24. John Powers (2010). Aesthetics and Politics of Space in Russia and Japan: A Comparative Philosophical Study. By Thorsten Botz-Bornstein. Lanham, MD: Lexington Books, 2009. Pp. Xvi+ 173. Price Not Given. Awareness Bound and Unbound: Buddhist Essays. By David R. Loy. Albany: State University of New York Press, 2009. Pp. Vii+ 208. Hardcover $70.00. Paper. [REVIEW] Philosophy East and West 60 (3):441-442.score: 120.0
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  25. David Boersema (2008). Review of “The Pursuit of Comparative Aesthetics: An Interface Between East and West”. [REVIEW] Essays in Philosophy 9 (2):12.score: 120.0
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  26. Thorsten Botz-Bornstein (2009). Mazhar Hussain and Robert Wilkinson, Eds. The Pursuit of Comparative Aesthetics: An Interface Between East and West Reviewed By. Philosophy in Review 28 (1):28-31.score: 120.0
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  27. T. Botz-Bornstein (2008). Mazhar Hussain and Robert Wilkinson, Eds., The Pursuit of Comparative Aesthetics: An Interface Between East and West. Philosophy in Review 28 (1):28.score: 120.0
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  28. Parul Dave-Mukherji (2002). Bodies, Power and Difference: Representations of the East-West Divide in the Comparative Study of Indian Aesthetics. Filozofski Vestnik 23 (2):205-220.score: 120.0
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  29. Mara Miller (2004). Pursuit of Comparative Aesthetics: An Interface Between the East & West. In Mazhar Hussain (ed.). Ashgate. 187--204.score: 120.0
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  30. Eberhard Ortland (2003). Comparative Aesthetics Beyond Universalism and Relativism. Dialogue and Universalism 13 (11-12):123-132.score: 120.0
     
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  31. Susan L. Feagin (ed.) (2007). Global Theories of the Arts and Aesthetics. Blackwell.score: 96.0
    This collection of papers focuses on theories and practices in relation to the arts around the globe, in particular, those that have been ignored or marginalized by analytic or Anglo-American aesthetics and philosophy of art. The intention is to explain specific ways that the concepts of the aesthetic and of the arts might be enriched and enhanced. Indeed, in some cases the participation in artistic practices and the experience of art are deeply embedded in one’ s sense of self, in (...)
     
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  32. Yi-fu Tuan (1993/1995). Passing Strange and Wonderful: Aesthetics, Nature, and Culture. Kodansha International.score: 90.0
     
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  33. Qingping Liu (2006). The Worldwide Significance of Chinese Aesthetics in the Twenty-First Century. Frontiers of Philosophy in China 1 (1):33-40.score: 84.0
    Through comparisons between traditional Chinese and Western aesthetics, this article tries to explain the worldwide significance of Chinese aesthetic tradition in the twenty-first century. In contrast to cognitive-rational spirit and the tendency to distinguish the subjectives and objectives of traditional Western aesthetics, traditional Chinese aesthetics shows a distinctive practical-emotional spirit and a tendency to harmoniously unite human beings with nature, and believes that beauty is, first and foremost, a free state or way (Dao) of human life; the most important thing (...)
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  34. Eva Kit Wah Man (2007). Rethinking Art and Values: A Comparative Revelation of the Origin of Aesthetic Experience (From the Neo-Confucian Perspectives). Filozofski Vestnik 2.score: 84.0
    In his article, "The End of Aesthetic Experience" (1997) Richard Shusterman studies the contemporary fate of aesthetic experience, which has long been regarded as one of the core concepts of Western aesthetics till the last half century. It has then expanded into an umbrella concept for aesthetic notions such as the sublime and the picturesque. I agree with Shusterman that aesthetic experience has become the island of freedom, beauty, and idealistic meaning in an otherwise cold materialistic and law-determined world. My (...)
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  35. Liu Qingping (2006). The Worldwide Significance of Chinese Aesthetics in the Twenty-First Century. Frontiers of Philosophy in China 1 (1):33-40.score: 78.0
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  36. Paolo Diego Bubbio (2007). Literary Aesthetics and Knowledge in René Girard’s Mimetic Theory. Literature and Aesthetics 17 (1):35-50.score: 72.0
    René Girard’s mimetic theory has significantly influenced the fields of comparative literature and cultural studies, as well as sociological anthropology and philosophy. Nevertheless, I argue that a somewhat different line of interpretation, an interdisciplinary one, has not been sufficiently investigated. This involves an interpretation which focuses on the vicissitudes of the mimetic and “victimage” circle not (or not only) in sociological terms, but by analysing their articulation on the level of knowledge. The sociological and epistemological perspectives do not exclude (...)
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  37. Vladimir J. Konečni (2013). Empirical Psycho-Aesthetics and Her Sisters: Substantive and Methodological Issues—Part I. Journal of Aesthetic Education 46 (4):1-12.score: 68.0
    This article is in two parts, with part II to appear in the next issue of JAE (Spring 2013). Part I (with six sections), in this issue, has two related objectives. The first objective is to examine a number of key substantive, methodological, and science-practice issues related to the field designated here as empirical psycho-aesthetics. The second objective is to present an outline of its origin and discuss certain important features of several related fields—experimental philosophy, cognitive-science-and-art, (cognitive) neuroscience of art, (...)
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  38. Donald W. Crawford (1980). Comparative Aesthetic Judgments and Kant's Aesthetic Theory. Journal of Aesthetics and Art Criticism 38 (3):289-298.score: 66.0
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  39. Paul Bishop (2007). Analytical Psychology and German Classical Aesthetics: Goethe, Schiller & Jung. Routledge.score: 66.0
    Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung , volume 1, The Development of the Personality investigates the extent to which analytical psychology draws on concepts found in German classical aesthetics. It aims to place analytical psychology in the German-speaking tradition of Goethe and Schiller, with which Jung was well acquainted. This volume argues that analytical psychology appropriates many of its central notions from German classical aesthetics, and that, when seen in its intellectual historical context, the true originality (...)
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  40. Crispin Sartwell (2006). Six Names of Beauty. Routledge.score: 60.0
    Beauty may be in the eye of the beholder, but it's also in the language we use and everywhere in the world around us. In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's "to kalon," the Japanese idea of "wabi-sabi," Hebrew's "yapha," the Navajo concept "hozho," Sanskrit "sundara," and our own English-language "beauty." Each word becomes a door onto another way of thinking about, and (...)
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  41. Xianguang Feng (ed.) (2010). Quan Qiu Hua Wen Hua Yu Jing Zhong de Zhong Xi Wen Yi Mei Xue Bi Jiao Yan Jiu. Ba Shu Shu She.score: 60.0
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  42. Yongwen Jiang (2007). Zhong Xi Shen Mei Zhi Si. Yunnan da Xue Chu Ban She.score: 60.0
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  43. B. A. Pathan (1989). Gandhian Concept of Beauty. Distributor, Ajanta Books International.score: 60.0
     
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  44. Viktoria Schmidt-Linsenhoff (2010). Ästhetik der Differenz: Postkoloniale Perspektiven Vom 16. Bis 21. Jahrhundert: 15 Fallstudien. Jonas.score: 60.0
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  45. Viktoria Schmidt-Linsenhoff (2010). Ästhetik der Differenz: Postkoloniale Perspektiven Vom 16. Jonas.score: 60.0
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  46. Dingsheng Yuan (2005). Sheng Tai Shi Yu Zhong de Bi Jiao Mei Xue. Ren Min Chu Ban She.score: 60.0
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  47. Fa Zhang (2007). 20 Shi Ji Zhong Xi Mei Xue Yuan Li Ti Xi Bi Jiao Yan Jiu =. Anhui Jiao Yu Chu Ban She.score: 60.0
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  48. Fa Zhang (2010). Zhong Xi Mei Xue Yu Wen Hua Jing Shen. Zhongguo Ren Min da Xue Chu Ban She.score: 60.0
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  49. John Neil Martin (2008). The Lover of the Beautiful and the Good: Platonic Foundations of Aesthetic and Moral Value. Synthese 165 (1):31 - 51.score: 58.0
    Though acknowledged by scholars, Plato’s identification of the Beautiful and the Good has generated little interest, even in aesthetics where the moral concepts are a current topic. The view is suspect because, e.g., it is easy to find examples of ugly saints and beautiful sinners. In this paper the thesis is defended using ideas from Plato’s ancient commentators, the Neoplatonists. Most interesting is Proclus, who applied to value theory a battery of linguistic tools with fixed semantic properties—comparative adjectives, associated (...)
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  50. Vladimir J. Konečni (2013). Empirical Psycho-Aesthetics and Her Sisters: Substantive and Methodological Issues—Part II. Journal of Aesthetic Education 47 (1):1-21.score: 56.0
    Several key substantive, methodological, and science-practice issues that concern the field designated as empirical psycho-aesthetics were examined in part I (in the Winter 2012 issue of JAE) of this two-part article. Also presented was an outline of the discipline's origin and its relationship with elder and younger "sisters"—philosophical aesthetics, experimental philosophy, cognitive-science-and-art, (cognitive) neuroscience of art, and neuroaesthetics. The comparative goal was in part approached through the analysis of several recent significant controversies and debates.Here, in the six sections of (...)
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