Search results for 'Malcom Budd' (try it on Scholar)

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  1. Malcom Budd (2000). The Aesthetics of Nature. Proceedings of the Aristotelian Society 100 (2):137–157.score: 240.0
    I begin by demonstrating the inadequacy of the idea that the aesthetic appreciation of nature should be understood as the appreciation of nature as if it were art. This leads to a consideration of three theses: (i) from the aesthetic point of view natural items should be appreciated under concepts of the natural things or phenomena they are, (ii) what aesthetic properties a natural item really possesses is determined by the right categories of nature to experience the item as falling (...)
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  2. Malcolm Budd (2002). The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature. Oxford University Press.score: 60.0
    The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of (...)
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  3. Malcolm Budd (1996). The Aesthetic Appreciation of Nature. British Journal of Aesthetics 36 (3):207-222.score: 60.0
    The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These (...)
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  4. Malcolm Budd (2008). Aesthetic Essays. Oxford University Press.score: 30.0
    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 of a picture -- Wollheim on correspondence, projective properties, and (...)
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  5. Malcolm Budd (2005). Aesthetic Realism and Emotional Qualities of Music. British Journal of Aesthetics 45 (2):111-122.score: 30.0
    Roger Scruton appears to have been the first to argue for and articulate an anti-realist theory of aesthetic properties. In the case of emotional qualities of music, his principal argument against realism is unsound and cannot, I believe, be repaired. Nevertheless an anti-realist view of emotional qualities of music is in my view correct and I defend Scruton's insight against a rival realist conception. However, I prefer a rather different form of anti-realism to Scruton's.
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  6. Malcolm Budd (2007). The Intersubjective Validity of Aesthetic Judgements. British Journal of Aesthetics 47 (4):333-371.score: 30.0
    All aesthetic judgements, whether descriptive, evaluative or some combination of the two, and whatever they might be about, whether works of art, artefacts of other kinds, or natural things, declare themselves to be, not mere announcements or expressions of personal responses to the objects of judgement, but claims meriting the agreement of others. Despite the frequent appeal in everyday life to the nihilistic interpretation of the saying ‘It's all a matter of taste’, the doctrine of aesthetic nihilism—the view that such (...)
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  7. Malcolm Budd (2006). The Characterization of Aesthetic Qualities by Essential Metaphors and Quasi-Metaphors. British Journal of Aesthetics 46 (2):133-143.score: 30.0
    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 those aesthetic qualities that (...)
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  8. Malcolm Budd (1984). Wittgenstein on Meaning, Interpretation and Rules. Synthese 58 (March):303-324.score: 30.0
  9. Malcolm Budd (1987). Wittgenstein on Seeing Aspects. Mind 96 (January):1-17.score: 30.0
  10. Malcolm Budd (1999). Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties. European Journal of Philosophy 7 (3):295–311.score: 30.0
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  11. Malcolm Budd (2003). The Acquaintance Principle. British Journal of Aesthetics 43 (4):386-392.score: 30.0
    The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non-aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility of (...)
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  12. Malcolm Budd (2009). Response to Christopher Peacocke's 'the Perception of Music: Sources of Significance'. British Journal of Aesthetics 49 (3):289-292.score: 30.0
    My response consists essentially of an attempt to throw light on (and encourage further elucidation of) Peacocke's basic proposal as to how musical expressiveness should be understood by a comparison and contrast with a somewhat similar suggestion of mine.
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  13. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature Part III: The Sublime in Nature. British Journal of Aesthetics 38 (3):233-250.score: 30.0
  14. M. Budd (2011). The Love of Art: More Than a Promise of Happiness. British Journal of Aesthetics 51 (1):81-88.score: 30.0
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  15. Malcolm Budd (1985). Music and the Emotions: The Philosophical Theories. Routledge & Kegan Paul.score: 30.0
    The most fundamental debate in the philosophy of music involves the question of whether there is an artistically important connection between music and the ...
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  16. Malcolm Budd (2006). Objectivity and the Aesthetic Value of Nature: Reply to Parsons. British Journal of Aesthetics 46 (3):267-273.score: 30.0
    The Aesthetic Appreciation of Nature I advance a view of the aesthetic value of nature that Glenn Parsons seeks to contest. Here I attempt to show three things. The first is that his critique of my view of the aesthetic value of a natural thing is malfounded. The second is that his proposed alternative, which is intended to vindicate the claim to objectivity of certain judgements of the aesthetic value of a natural thing, is unconvincing. And the third is that, (...)
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  17. Malcolm Budd (2001). The Pure Judgement of Taste as an Aesthetic Reflective Judgement. British Journal of Aesthetics 41 (3):247-260.score: 30.0
  18. Malcolm Budd (1986). Wittgenstein on Sensuous Experiences. Philosophical Quarterly 36 (April):174-195.score: 30.0
  19. Malcolm Budd (1983). Motion and Emotion in Music: How Music Sounds. British Journal of Aesthetics 23 (3):209-221.score: 30.0
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  20. Malcolm Budd (2003). Musical Movement and Aesthetic Metaphors. British Journal of Aesthetics 43 (3):209-223.score: 30.0
    Roger Scruton's extraordinarily rich and impressive book The Aesthetics of Music has not received the attention it deserves. In this paper I take issue with one of its most striking claims, namely that the basic perceptions of music are informed by spatial concepts understood metaphorically. To evaluate this claim it is necessary to grasp Scruton's theory of metaphor, which has largely been neglected. I sketch his theory and derive from it the essence of his claim about the fundamental role of (...)
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  21. Malcolm Budd (2002). Sibley's Aesthetics. [REVIEW] Philosophical Quarterly 52 (207):237–246.score: 30.0
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  22. John Budd (2008). Self-Examination: The Present and Future of Librarianship. Libraries Unlimited.score: 30.0
    Genealogy of the profession -- Place and identity -- Being informed about informing -- What's the right thing to do? -- In a democracy -- The information society -- Optimistic synthesis.
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  23. Malcolm Budd (1989). Wittgenstein's Philosophy of Psychology. Routledge.score: 30.0
    I INTRODUCTION WITTGENSTEIN'S CONCEPTION OF THE PHILOSOPHY OF PSYCHOLOGY What did Wittgenstein understand by the philosophy of psychology? ...
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  24. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: Natural Beauty. British Journal of Aesthetics 38 (1):1-18.score: 30.0
  25. Malcolm Budd (1989). Music and the Communication of Emotion. Journal of Aesthetics and Art Criticism 47 (2):129-138.score: 30.0
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  26. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part II: Natural Beauty and Morality. British Journal of Aesthetics 38 (2):117-126.score: 30.0
  27. Malcolm Budd (1980). The Repudiation of Emotion: Hanslick on Music. British Journal of Aesthetics 20 (1):29-43.score: 30.0
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  28. Malcolm Budd (1987). Motion and Emotion in Music: A Reply. British Journal of Aesthetics 27 (1):51-54.score: 30.0
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  29. M. Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part 1: Natural Beauty. British Journal of Aesthetics 38 (1):1-18.score: 30.0
  30. Malcolm Budd (1993). The Realistic Spirit: Wittgenstein, Philosophy, and the Mind. [REVIEW] Philosophical Books 34 (1):21-22.score: 30.0
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  31. Michael Tanner & Malcolm Budd (1985). Understanding Music. Aristotelian Society Supplementary Volume 59:215 - 248.score: 30.0
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  32. Susan Budd & Ursula Sharma (eds.) (1994). The Healing Bond: The Patient-Practitioner Relationship and Therapeutic Responsibility. Routledge.score: 30.0
    By considering the nature of the relationship between patient and healer, The Healing Bond explores the responsibilities of both, with a special emphasis on the therapeutic responsibility. The editors and contributors examine both orthodox and unorthodox forms of healing practice and apply a variety of professional and analytic perspectives to the medical profession as a whole. They look at specific areas of health such as midwifery, psychoanalysis, naturopathy, the relations between medicine and state, and the appeal of "quacks." Particular issues (...)
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  33. Malcolm Budd (2012). The Musical Expression of Emotion: Metaphorical-As Versus Imaginative-As Perception. Estetika 49 (2):131-147.score: 30.0
    The paper begins with an overview of various well-known accounts of the musical expression of emotion that have been proposed in recent years. But rather than proceeding to assess the merits and faults of these accounts the paper examines whether a radically new theory by Christopher Peacocke is superior to all of them. The theory, which certainly has a number of attractive features, is based on the idea of metaphorical-as perception. The notion of metaphorical-as perception needs to be elucidated and (...)
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  34. Malcolm Budd (1986). Book Reviews. [REVIEW] British Journal of Aesthetics 26 (3):94-95.score: 30.0
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  35. Malcolm Budd (1992). Books Reviews. Mind 101 (401):195-198.score: 30.0
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  36. John M. Budd (2002). Jesse Shera, Social Epistemology and Praxis. Social Epistemology 16 (1):93 – 98.score: 30.0
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  37. M. Budd, Aesthetic Attitude.score: 30.0
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  38. Malcolm Budd (1989). Book Reviews. [REVIEW] British Journal of Aesthetics 29 (4):94-95.score: 30.0
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  39. Malcolm Budd (2001). Music and Humanism. International Philosophical Quarterly 41 (4):499-501.score: 30.0
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  40. Malcolm Budd (2001). Book Review. Aesthetics and the Environment Allen Carlson. [REVIEW] Mind 110 (438):448-452.score: 30.0
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  41. M. J. Budd (1969). Materialism and Immaterialism. Proceedings of the Aristotelian Society 70:197 - 217.score: 30.0
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  42. Malcolm Budd (forthcoming). Music and the Expression of Emotion. Journal of Aesthetic Education.score: 30.0
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  43. Malcolm Budd (2014). Artistic Merit. Journal of Aesthetic Education 48 (1):10-24.score: 30.0
    If you are interested in art, you engage in artistic evaluation, thinking of one work as being better than another; one artist as being better than another; some works and some artists as being great, mediocre, or poor; and, perhaps, thinking of some forms or genres of art as being superior to others in that works within the favored form or genre have achieved or can aspire to a higher artistic value than is possible for those less favored. The greatest (...)
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  44. Malcolm Budd (1991). Book Reviews. [REVIEW] British Journal of Aesthetics 31 (2):94-95.score: 30.0
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  45. M. Budd, Critical Notice of Music and Conceptualization by Mark DeBellis.score: 30.0
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  46. John Budd (2001). Knowledge and Knowing in Library and Information Science: A Philosophical Framework. Scarecrow Press.score: 30.0
    This landmark work traces the heritage of thought, from the beginnings of modern science in the seventeenth century, until today, that has influenced the profession of library and information science.
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  47. Malcolm Budd (1998). Music and Conceptualization. Philosophy and Phenomenological Research 58 (3):732-735.score: 30.0
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  48. Malcolm Budd (1999). Real Beauty. Philosophical Review 108 (1):100-103.score: 30.0
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  49. Malcolm Budd (2002). Review: Sibley's Aesthetics. [REVIEW] Philosophical Quarterly 52 (207):237 - 246.score: 30.0
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  50. Roger Scruton, Peter Kivy, Jerrold Levinson, Malcolm Budd, Diana Raffman & Lydia Goehr (1994). Recent Books in the Philopshy of MusicMusic Alone: Philosophical Reflections on the Purely Musical Experience.Sound and Semblance: Reflections on Musical Representation.The Fine Art of Repetition: Essays in the Philosophy of Music.Music, Art and Metaphysics: Essays in Philosophical Aesthetics.Music and the Emotions: The Philosophical Theories.Language, Music and Mind.The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. [REVIEW] Philosophical Quarterly 44 (177):503.score: 30.0
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