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  1. added 2020-05-25
    Cognitive Values in the Arts: Marking the Boundaries.Peter Lamarque - 2006 - In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell. pp. 127--39.
  2. added 2020-05-17
    Review of Philosophers at Table: On Food and Being Human, by Raymond D. Boisvert and Lisa Heldke, The Pluralist, Vol. 14, No. 3, Fall 2019, 108-112. [REVIEW]I. I. I. Lee A. McBride - 2019 - The Pluralist 14:108-112.
  3. added 2020-04-24
    Taste, Traits, and Tendencies.Alexander Dinges & Julia Zakkou - forthcoming - Philosophical Studies:1-24.
    Many experiential properties are naturally understood as dispositions such that e.g. a cake tastes good to you iff you are disposed to get gustatory pleasure when you eat it. Such dispositional analyses, however, face a challenge. It has been widely observed that one cannot properly assert “The cake tastes good to me” unless one has tried it. This acquaintance requirement is puzzling on the dispositional account because it should be possible to be disposed to like the cake even if this (...)
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  4. added 2020-04-08
    Concepts of Truth in Literature: A Contemporary Reading of Hartmann's Aesthetics.Íngrid Vendrell-Ferran - forthcoming - In Thomas Kessel & Friedrich Hausen (eds.), Wert und Wahrheit in der Kunst. Die Ästhetik Nicolai Hartmanns.
    This paper offers a reading of Hartmann’s philosophy of literature from the perspective of contemporary aesthetics. In particular, I focus on his defense of the truth-value of literary works. After outlining the main concern of the paper (sect. 1), I place Hartmann’s view within the context of current aesthetic cognitivism (sect. 2). In the following three sections, I discuss Hartmann’s account, examining his critique of the thesis that literature is cognitively valuable because it transmits factual truths (sect. 3); his defense (...)
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  5. added 2020-04-02
    “Categories of Art” at 50: An Introduction.Dan Cavedon‐Taylor - 2020 - Journal of Aesthetics and Art Criticism 78 (1):65-66.
    Introduction to a symposium in The Journal of Aesthetics and Art Criticism on the 50th anniversary of Kendall Walton's "Categories of Art." Featuring papers by Madeleine Ransom, Stacie Friend, David Davies and Kendall Walton.
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  6. added 2020-03-19
    Aesthetics: A Very Short Introduction.Bence Nanay - 2019 - Oxford University Press.
    Bence Nanay introduces aesthetics, a branch of philosophy that explores the nature of art, beauty, and taste. Looking beyond traditional artistic experiences, he defends the topic from accusations of elitism, and shows how more everyday experiences such as the pleasure in a soft fabric or falling leaves can become the subject of aesthetics.
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  7. added 2020-03-17
    Aesthetic Experience of Beautiful and Ugly Persons: A Critique.Mika Suojanen - 2016 - Journal of Aesthetics and Culture 8 (1).
    The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of aesthetic qualities, (...)
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  8. added 2020-03-15
    The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. Rovaniemi: Lapland University Press. pp. 57–72.
    What is beautiful or ugly vary from one person another, from time to time and from culture to culture. However, at the same time, people are certain that there are aesthetic properties in the nature, artworks and other persons and, furthermore, they can be perceived by the naked eye. This article argues that experience does not reveal the aesthetic properties of the objects.
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  9. added 2020-02-12
    The Art Instinct: Beauty, Pleasure, and Human Evolution.Mara Miller - 2009 - Journal of Aesthetics and Art Criticism 67 (3):333-336.
  10. added 2020-02-12
    Body Consciousness: A Philosophy of Mindfulness and Somaesthetics.Curtis L. Carter - 2008 - Journal of Aesthetics and Art Criticism 66 (4):419-422.
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  11. added 2020-01-23
    Wittgenstein and Heidegger Against a Science of Aesthetics’.Andreas Vrahimis - 2020 - Estetika 57 (1):64-85.
    Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: (a) there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about (...)
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  12. added 2020-01-19
    Using Philosophy of Perception in Aesthetics.Bence Nanay - 2015 - Aesthetic Investigations 1:174-180.
    Aesthetics is about ways of experiencing the world. But then if we apply the remarkably elaborate and sophisticated conceptual apparatus of philosophy of perception to questions in aesthetics, we can make real progress.
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  13. added 2020-01-18
    Responses to Critics.Bence Nanay - 2019 - Studi di Estetica 47:239-244.
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  14. added 2020-01-18
    Responses to Critics.Bence Nanay - 2019 - Estetika 56:118-124.
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  15. added 2020-01-18
    Defamiliarization and the Unprompted (Not Innocent) Eye.Bence Nanay - 2018 - Nonsite 24:1-17.
    A distinctive feature of Russian formalism, something we do not see in Bell and Fry or in Wölfflin and Riegl (or see it more rarely, see Section IV below), is this emphasis on the analysis of everyday perception and the ways in which art encourages us to perceive differently. But it is difficult not to read the concept of defamiliarization as a naïve early statement of what art historians and aestheticians of the second half of the 20th century criticized as (...)
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  16. added 2020-01-18
    Against Aesthetic Judgments.Bence Nanay - 2018 - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment. London: Routledge.
    Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us more often.
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  17. added 2020-01-14
    Art and Intimacy.Ellen Dissanayake - 2000 - University of Washington Press.
    To Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In Art and Intimacy she argues for the joint evolutionary origin of art and intimacy, what we commonly call love. It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be lovable and to attune themselves (...)
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  18. added 2019-10-06
    The Cognitive Dimension of Art: Aesthetic and Educational Value.Alexandra Mouriki & Alexandra Mouriki-Zervou - 2011 - International Journal of Learning: Annual Review 18 (1):1-12.
    The question of whether art is a source of knowledge is a question of epistemic as well as of aesthetic interest which has significant pedagogical implications as well. This issue, both in its epistemic and aesthetic dimensions, is addressed here under the general perspective of the contemporary cognitivist - anti-cognitivist debate. Consequently, it is asked: a) can art be a means of knowledge and if it does, is knowledge obtained through art of the same kind with scientific knowledge? and b) (...)
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  19. added 2019-08-22
    Musical Meaning in Between: Ineffability, Atmosphere and Asubjectivity in Musical Experience.Tere Vadén & Juha Torvinen - 2014 - Journal of Aesthetics and Phenomenology 1 (2):209-230.
    ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is seen as (...)
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  20. added 2019-08-20
    Atmosphere as a Concept for Ethnomusicology: Comparing the Gamelatron and Gamelan.Andrew McGraw - 2016 - Ethnomusicology 60 (1):125-147.
    Abstract. In this article I compare a robotic gamelan sound installation (the gamelatron) and traditional gamelan, as performed in the American gamelan subculture, in order to specify the concept of atmosphere for use within ethnomusicology. I argue that at the level of affect the gamelatron and gamelan afford similar experiences that I call “atmospheres of felt- relation.” At the level of comprehension they are registered as divergent because of their differential alignment to several discursive binaries: live/recorded, human/machine, individual/group, subject/object and (...)
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  21. added 2019-08-09
    Going Together: Toward an Account of Sharing Aesthetic Experiences.Robert Shanklin & Michael Meyer - 2019 - Journal of Aesthetic Education 53 (3):106.
    We often go out to the movies, theater, or ballet, preferring to share the experience with others rather than watch at home alone. We do the same with food and drink, for instance, by going to tasting rooms to sample wines and talk with others. To have these sorts of experiences, we plan, coordinate, and engage in a range of complex social practices. These practices often lead to the formation of audiences, and philosophers since Aristotle have argued that the success (...)
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  22. added 2019-08-06
    The Life of Imagination: Revealing and Making the World.Jennifer Anna Gosetti-Ferencei - 2018 - New York, NY, USA: Columbia University Press.
    Imagination allows us to step out of the ordinary but also to transform it through our sense of wonder and play, artistic inspiration and innovation, or the eureka moment of a scientific breakthrough. In this book, Jennifer Anna Gosetti-Ferencei offers a groundbreaking new understanding of its place in everyday experience as well as the heights of creative achievement. -/- The Life of Imagination delivers a new conception of imagination that places it at the heart of our engagement with the world—thinking, (...)
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  23. added 2019-07-28
    More Than Meets The Eye: Connections Between Phenomenology And Art.Tavi Meraud - 2010 - Postgraduate Journal of Aesthetics 7 (3):25-35.
    In a letter dated 12 January 1907, written to the poet Hugo von Hofmannsthal, the philosopher Edmund Husserl presents a half-formed analogy between the artist and the phenomenologist. Husserl writes that both the artist and the phenomenologist, in their respective efforts to study the world, share the common attitude of indifference regarding the world’s existence; they both experience the world as phenomena. Both the aesthetic and phenomenological intuitions, then, are marked by the departure from the “natural” attitude, the everyday ordinary (...)
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  24. added 2019-07-28
    Expression And Expressiveness In Art.Jenefer Robinson - 2007 - Postgraduate Journal of Aesthetics 4 (2):19-41.
    The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “expressiveness” (...)
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  25. added 2019-07-28
    The Role Of Aesthetic Experience.Anil Gomes - 2007 - Postgraduate Journal of Aesthetics 4 (1):1-17.
    One of the abiding themes of the three essays which make up Iris Murdoch’s wonderful The Sovereignty of Good1 is that experience can be a way of our coming to possess aesthetic concepts. “We learn through attending to contexts, vocabulary develops through close attention to objects, and we can only understand others if we can to some extent share their [spatio-temporal and conceptual] contexts.” (IP, p.31). My interest in this paper is in what account of aesthetic experience can respect this (...)
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  26. added 2019-07-26
    Freedom And Receptivity In Aesthetic Experience.Ronald Hepburn - 2006 - Postgraduate Journal of Aesthetics 3 (1):1-14.
    No-one can read far into our subject without finding an author linking aesthetic experience and freedom in one sense or another: Kant, notably of course, but also Schopenhauer, Schiller, and many more. In this article I want first [A] to remind you in a sentence or two of those by now classic ways of connecting concepts of freedom and aesthetic experience, and then [B] to outline some thoughts of my own. Section [C] opens up in more detail a less frequented (...)
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  27. added 2019-07-17
    Shared Musical Experiences.Brandon Polite - 2019 - British Journal of Aesthetics 59 (4):429-447.
    In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of (...)
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  28. added 2019-07-17
    On "Aesthetics as Philosophy of Perception".Nicholas Silins - 2019 - Studi di Estetica:227-233.
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  29. added 2019-07-07
    In the Eye of the Beholder.Dominic McIver Lopes - 2016 - In Julian Dodd (ed.), Art, Mind, and Narrative: Themes from the Work of Peter Goldie. Oxford: pp. 223-340.
    According to a core tenet of contemporary philosophy, aesthetic properties are primarily represented in experiences. Obviously, however, the tenet does not apply in any straightforward manner to many items that nevertheless seem to have aesthetic properties. Examples include literary works, mathematical objects, scientific ideas, and works of conceptual art. Aesthetic properties need not be represented in perceptual experiences, but what is an experience if not a perceptual state? This paper adapts Fred Dretske’s distinction between analogue and digital representation to develop (...)
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  30. added 2019-06-19
    The Passions and Disinterest: From Kantian Free Play to Creative Determination by Power, Via Schiller and Nietzsche.Eli I. Lichtenstein - 2019 - Ergo: An Open Access Journal of Philosophy 6:249-279.
    I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...)
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  31. added 2019-06-10
    A Consideration of Carroll’s Content Theory.David Sackris & Rasmus Rosenberg Larsen - 2020 - Journal of Value Inquiry 54 (2):245-255.
    In this paper, we consider Noël Carroll’s Content Theory (CT) (2015) and argue that a key problem with CT is that it can be interpreted in two distinct ways: as a descriptive theory of aesthetic experience and as a normative prescriptive theory. Although CT is presented as a descriptive theory of experience, much of what Carroll says implies that CT can also be understood as a theory about how one ought to look at artworks. We argue that when understood as (...)
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  32. added 2019-06-06
    Interiority, Cognitional Operations, and Aesthetic Judgment: In Dialogue with John Dadosky and Mikel Dufrenne.James R. Pambrun - 2014 - Philosophy and Theology 26 (2):307-341.
    This article proposes to elaborate aesthetic judgment. The context is John Dadosky’s call for such an elaboration in light of the theological and philosophical import of a recovery of beauty. Following Dadosky’s suggestion that this be set within Lonergan’s appeal to interiority, the article signals two points in Dadosky’s program: patterns of experience and the role of cognitional operations. The article turns to Mikel Dufrenne’s work on the phenomenology of aesthetic experience. Based on this work, data is presented on behalf (...)
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  33. added 2019-06-06
    Evolution, Poetry, and Growth: Dewey’s Romantic Appropriation of the Darwinian Worldview.Jennifer A. Gaffney - 2013 - American Catholic Philosophical Quarterly 87 (2):285-300.
    This paper challenges the assumption that John Dewey’s appeal to the philosophical significance of evolutionary theory serves primarily to legitimize the sciences. By contrast, I argue that a more careful examination of Dewey’s conception of growth reveals that his appropriation of the Darwinian worldview is fundamentally aesthetic. To give contour to the aesthetic Dewey extracts from Darwinism, I consider several aspects of his thought alongside Friedrich Schlegel’s conception of romantic poetry. This, in turn, helps to illustrate that, for Dewey, the (...)
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  34. added 2019-06-06
    The Image: Historical, Conceptual, Aesthetic, Moral.Alison Ross - 2013 - Critical Horizons 14 (3):265-270.
    The concept of ‘the image’ can be given historical, conceptual, aesthetic and moral specifications. This essay sets out some of the scholarly issues in the dense semantic field of ‘the image’. In particular, the essay considers how the meaning of the image is often determined in relation to the opposition between sensible form and intelligible idea. Specific attention is given to Kantian aesthetics, which inaugurates a specific way of understanding the sensible form as a mode of processing moral ideas.
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  35. added 2019-06-06
    Justifying the Arts: The Value of Illuminating Failures.Michelle Forrest - 2011 - Philosophy of Education 45 (1):59-73.
    This paper revisits how late 20th-century attempts to account for conceptual and other difficult art-work by defining the concept ‘art’ have failed to offer a useful strategy for educators seeking a non-instrumental justification for teaching the arts. It is suggested that this theoretical ground is nonetheless instructive and provides useful background in searching for a viable approach to justification. It is claimed that, though definition may fail and grand theories not coalesce, one would be wise to emulate Passmore who argues (...)
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  36. added 2019-06-06
    Aesthetic Experience in Schopenhauer's Metaphysics of Will.Alex Neill - 2008 - European Journal of Philosophy 16 (2):179-193.
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  37. added 2019-06-06
    American Beauty.Anthony Graybosch - 2002 - Acta Analytica 17 (2):133-150.
    Kant’s approach to the nature of artworks suggests that art has a metaphysical dimension that accounts for the two major elements of aesthetic experience. Aesthetic judgements are occasioned by experiences of pleasure and have an objective aspect since they are experiences with which other persons are expected to agree. More recently, Arthur Danto has argued that an artwork must be situated in an artworld. Pragmatists see aesthetic experience instead as integral to experience and requiring no special explanation other than association (...)
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  38. added 2019-06-06
    Shusterman’s Epicurean Aesthetics.Joseph Grünfeld - 2002 - Philosophy in the Contemporary World 9 (2):81-86.
    For Shusterman, all experience is a form of understanding, but this makes it difficult for him to explain how we can be mistaken about our experience. His preference for rap remains idiosyncratic, as is his notion of the art of living. In spite of his postmodernist stance, he continues to generalize about what he takes to be the body and about the nature of art. But what “works” in art depends on a variety of subjective factors we come to know (...)
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  39. added 2019-06-06
    Sociality and the Aesthetic Sphere: The Revelations of Offense and Transgression.Judith Bradford - 1999 - Philosophy in the Contemporary World 6 (3/4):35-41.
    In this paper, I examine the textual evidence for the thesis that the so-called “aesthetic sphere” of existence as depicted in Either/Or, Part I, is best described as a certain mode of relation to the social: a relation of distrust and despite. Throughout that work, themes of distrust, misunderstanding, offense, and deliberate deception recur in different profiles; I offer a social diagnosis of the “aesthetic” and support the analysis through interpretation of the text.
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  40. added 2019-06-06
    The Aesthetic Dimension of the Community of Inquiry.Ann Margaret Sharp - 1997 - Inquiry: Critical Thinking Across the Disciplines 17 (1):67-77.
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  41. added 2019-06-06
    Art, Nature Et Expérience Esthétique Chez Kant.Claude Veillette - 1996 - Dialogue 35 (2):219-234.
    Au § 45 de la Critique de la facultè de juger, Kant écrit: «La nature était belle lorsqu'elle avait incontinent l'apparence de l'art; et l'art ne peut être appelé beau que lorsque nous sommes conscients qu'il s'agit bien d'art, mais qu'il prend pour nous l'apparence de la nature». Ce qui semble à première vue n'être qu'un simple «paradoxes Gedankenspiel» nous convie au contraire à l'un des problèmes les plus intéressants de la troisième Critique: celui du rapport entre la beauté de (...)
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  42. added 2019-06-06
    Pragmatist Aesthetics: Living Beauty, Rethinking Art Richard Shusterman Oxford, UK, and Cambridge MA: Blackwell, 1992, Xii + 324 Pp. $21.95. [REVIEW]Preben Mortensen - 1996 - Dialogue 35 (1):210-213.
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  43. added 2019-06-06
    Beardsley’s Aesthetic Instrumentalism.George Bailey - 1989 - International Studies in Philosophy 21 (3):63-70.
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  44. added 2019-06-06
    The Phenomenology of Aesthetic Experience. [REVIEW]W. C. R. - 1975 - Review of Metaphysics 28 (4):751-752.
    This book is a translation of a work which in the original French appeared in two volumes in 1953. It is a tour de force by a man who is philosophically very close to Merleau-Ponty, and who has a deep appreciation for a wide spectrum of works of art. The book has four parts: the first distinguishes the "aesthetic object" from the "work of art"; the second is an analysis of types of works of art, especially music and painting; the (...)
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  45. added 2019-06-06
    The Metaphysics of Aesthetic Experience.Robert A. Francoeur - 1965 - Proceedings and Addresses of the American Philosophical Association 39:211.
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  46. added 2019-06-06
    Aesthetic Experience and Its Presuppositions. By C. L. Stevenson.Milton C. Nahm - 1945 - Ethics 56 (3):231-232.
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  47. added 2019-06-06
    Art as Experience.I. E. - 1934 - Journal of Philosophy 31 (10):275-276.
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  48. added 2019-06-05
    Dewey's Deconstructive Hermeneutic: Contra the Phenomenology and Morphology of Aesthetic-Mystical Experience Statically Conceived. Aisemberg - 2014 - Journal of Aesthetic Education 48 (1):54.
    Either beauty is the beholding of a fixed and final aesthetic essence discontinuous with the rest of nature, or it is an intuitive grasp and encompassing feel of a consummated movement of natural energies and elements through their inner relations into a single, qualitative unity, whose pervasive tonality is a situational emergent from the biologically active, temporally continuous, and reciprocally constituting-constituted transactional dialectic between a human creature and the world. If aesthetic-mystical experience is indeed something “eternalized” out of all connection (...)
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  49. added 2019-06-05
    Metaphor and Metaphilosophy: Philosophy as Combat, Play, and Aesthetic Experience.Dr Sarah A. Mattice - 2014 - Lexington Books.
    Sarah A. Mattice develops a comparative intervention in contemporary metaphilosophy. Drawing on resources from hermeneutics, cognitive linguistics, aesthetics, and Chinese philosophy, she explores how philosophical language is deeply intertwined with the definition and practice of the discipline.
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  50. added 2019-06-05
    Freeman, Damien. Art's Emotions: Ethics, Expression and Aesthetic Experience. McGill‐Queen's University Press, 2012, Xii + 210 Pp., $27.95 Paper. [REVIEW]Ronald Moore - 2013 - Journal of Aesthetics and Art Criticism 71 (2):229-232.
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