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  1. E. J. A. (1966). Art and Human Intelligence. [REVIEW] Review of Metaphysics 19 (3):602-602.
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  2. H. D. A. & Herbert Ellsworth Cory (1948). The Significance of Beauty in Nature and Art. Journal of Philosophy 45 (18):499.
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  3. Lars Aagaard-Mogensen (1982). On Cognitive Aesthetics. Philosophica 30 (2):5-16.
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  4. Reuben Abel (1972). On "Form" in Art. Philosophy and Phenomenological Research 32 (3):371-376.
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  5. Catharine Abell (2015). II—Genre, Interpretation and Evaluation. Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  6. Catharine Abell (2005). The Public Cost of Private Ownership of Artworks. Philosophy in the Contemporary World 12 (2):76-81.
    I argue that artworks are of public value because aesthetic experience of them contributes to the development of our aestheticjudgement. I use two accounts of aesthetic judgement to explore how it might do so and how the private ownership of artworks could affect the development of our aesthetic judgement.
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  7. Jerold J. Abrams (forthcoming). Aesthetics of Self-Fashioning. Philosophy Today.
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  8. Ionel Achim (1972). Dictionar de Estetica Generala. Editura Politica.
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  9. Gheorghe Achitei & Academia de Stiinte Sociale si Politice A. Republicii Socialiste România (1983). Estetica. Editura Academiei Republicii Socialiste România.
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  10. Hazard Adams (1954). The Blakean Aesthetic. Journal of Aesthetics and Art Criticism 13 (2):233-248.
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  11. Mortimer Jerome Adler (1995). Art, the Arts, and the Great Ideas.
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  12. 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, which took (...)
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  13. 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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  14. Evental Aesthetics (2013). Aesthetic Histories. Evental Aesthetics 2 (3):1-86.
    In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.
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  15. Harold Aesthetics & Osborne (1976). Estética. Fondo de Cultura Económica.
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  16. Henry David Aiken (1955). Some Notes Concerning the Aesthetic and the Cognitive. Journal of Aesthetics and Art Criticism 13 (3):378-394.
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  17. Henry David Aiken (1955). The Aesthetic Relevance of Artists' Intentions. Journal of Philosophy 52 (24):742-753.
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  18. Henry David Aiken (1953). Aesthetic Models and the Enjoyment of Art. Journal of Aesthetics and Art Criticism 11 (3):262-264.
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  19. Henry David Aiken (1951). The Aesthetic Relevance of Belief. Journal of Aesthetics and Art Criticism 9 (4):301-315.
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  20. Mesogeiako Synedrio Aisthetikes (2002). He Aisthetike Sten Arche Tes Trites Chilietias = Aesthetics on the Threshold of the Third Millenieum = L'esthétique au Seuil du Troisième Millénaire. Hidryma Panagiote Kai Ephes Michele.
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  21. Virgil C. Aldrich (1977). McGregor on Dickie's Institutionalized Aesthetic. Journal of Aesthetics and Art Criticism 36 (2):213-215.
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  22. S. Alexander (1930). IX.—Beauty and Greatness in Art. Proceedings of the Aristotelian Society 30 (1):205-228.
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  23. S. Alexander (1929). Beauty and Greatness in Art. Proceedings of the Aristotelian Society 30:205 - 228.
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  24. Samuel Alexander (1968). Beauty and Other Forms of Value. New York: Crowell.
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  25. Aphrodite Alexandrakis (1986). A Comparison of Plato, Plotinus and Hegel on Aesthetics and the Concept of Beauty. Dissertation, University of Miami
    This is a study of Hegel's theory of beauty, his theory of aesthetics, the origin of these theories in certain Platonic and Plotinian principles and concepts, and the application of these to Greek art and the Classical Ideal. ;An attempt is made to discover the notion of beauty in Hegel's theory of fine art on the basis of the analysis of the Classical Ideal, specifically, his theory of Greek sculpture. ;Hegel considers the unification of the classical concepts of the True, (...)
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  26. Melvin Leonard Alexenberg (1969). A Unitary Model of Intense Aesthetic Experiences in Art and Science.
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  27. Alexander Alland Jr (1989). Affect and Aesthetics in Human Evolution. Journal of Aesthetics and Art Criticism 47 (1):1-14.
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  28. A. H. B. Allen (1955). The Meaning of Beauty. Philosophy 30 (113):112 - 130.
    Theories of beauty are often divided into the objective and the subjective. I am doubtful whether a rigid distinction between the two can be maintained. It is difficult for an objective theory to assert that the impression of beauty is received quite passively, without any reaction or co-operation on the part of the subject, which is likely to be similar in the various cases.
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  29. Barry Allen (2009). A Theory of Craft: Function and Aesthetic Expression. Common Knowledge 15 (3):517-517.
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  30. G. Allen (1880). I.--Aesthetic Evolution in Man. Mind 5 (20):445-464.
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  31. Glen O. Allen (1969). The Aesthetic Paradox in "Hamlet". Journal of Aesthetics and Art Criticism 27 (3):303-315.
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  32. Marcia Allentuck (1971). Martin Buber's Aesthetic Theories: Some Reflections. Journal of Aesthetics and Art Criticism 30 (1):35-38.
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  33. Charles Altiei (2013). Aesthetics of Affects. Journal of Philosophy: A Cross-Disciplinary Inquiry 8 (19):48-53.
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  34. Pedro Alzuru (2005). La Ilusión Erótica. Cdcht.
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  35. Karl Ameriks (2004). The Key Role of Selbstgefühl in Philosophy's Aesthetic and Historical Turns. Critical Horizons 5 (1):27-52.
    In Selbstgefühl, Manfred Frank provides a detailed study of the eighteenth century origins and contemporary philosophical implications of a unique kind of direct selfawareness. The growing significance of this phenomenon is closely related to three interconnected developments in modern philosophy, which I describe as the 'subjective turn', the 'aesthetic turn', and the 'historical turn'. While following Frank in emphasising key concepts in the first of these two turns, I add a stress on the historical turn in post-Kantian philosophical writing.
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  36. Van Meter Ames (1960). Aesthetic Values in the East and West. Journal of Aesthetics and Art Criticism 19 (1):3 - 16.
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  37. Meter Amevans (1959). Aesthetic Values in the West. Philosophy East and West 9 (1/2):47-49.
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  38. Meter Amevans (1931). Introduction to Beauty. Freeport, N.Y., Books for Libraries Press.
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  39. Daniel Erwin Anderson (1961). An Objectificational Theory of Aesthetic Value. Dissertation, Tulane University
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  40. F. H. Anderson (1939). Notes on Plato's Aesthetic. Philosophical Review 48 (1):65-70.
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  41. Tiziana Andina (2009). Confini Sfumati: I Problemi Dell'arte, le Soluzioni Della Percezione. Mimesis.
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  42. Tiziana Andina (2005). Percezione E Rappresentazione: Alcune Ipotesi Tra Gombrich E Arnheim. Centro Internazionale Studi di Estetica.
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  43. Dimitri Z. Andriopoulos (1969). Issues and Problems in Contemporary Greek Aesthetics. Dissertation, State University of New York at Buffalo
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  44. Hanne Appelqvist (2011). On Music, Wine and the Criteria of Understanding. SATS 12 (1).
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  45. Kwame Anthony Appiah (1984). Beauty by Design: The Aesthetics of African Adornment. African-American Institute.
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  46. Qayṣar Aprīday (2007). Jamāliyāt, Yaw Naẓaryātī Jāj. Da Mundalo [Darak], Yūnīwarsiṭī Buk Ejansī.
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  47. Paul Ardenne (2006). Extrême: Esthétiques de la Limites Dépassée. Flammarion.
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  48. Willard Eugene Arnett (1953). Beauty, Art, and Reason: An Examination of the Artistic and Aesthetic Motivations in the Philosophy of Santayana. Dissertation, Columbia University
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  49. Rudolf Arnheim (1996). From Chaos to Wholeness. Journal of Aesthetics and Art Criticism 54 (2):117-120.
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  50. Rudolf Arnheim (1943). Gestalt and Art. Journal of Aesthetics and Art Criticism 2 (8):71-75.
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1 — 50 / 4689