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  1. Corey Abel (forthcoming). Whatever It Turns Out To Be: Oakeshott on Aesthetic Experience. In Leslie MArsh Paul Franco (ed.), Whatever It Turns Out To Be: Oakeshott on Aesthetic Experience. Penn State UP.
    This essay presents a multifold argument on Oakeshott's aesthetics. First, his famous essay "The Voice of Poetry" deals more explicitly and thoroughly with art than is often acknowledged. Second, aesthetic experience is a competitor to philosophic insight in so far as it discloses the coherence of a world of ideas through its uniting form and content; yet "art" remains a mode. Third, the essay points out that the absence of history from any major role in Oakeshott's most important treatment of (...)
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  2. Abhinavagupta (1968). The Aesthetic Experience According to Abhinavagupta. Varanasi, Chowkhamba Sanskrit Series Office.
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  3. Elizabeth Kemper Adams (1907). The Aesthetic Experience: Its Meaning in a Functional Psychology. Philosophical Review 16:660.
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  4. Dragan Ahmedovic (2012). Husserls Theorie des Zeitbewusstseins in der Ästhetik improvisierter Musik. GRIN.
    Edmund Husserl, Begründer der Phänomenologie als Wesensforschung, hielt in der Zeit von 1904 bis 1910 eine Reihe von Vorlesungen die sein Schüler Martin Heidegger 1928 unter dem Titel Vorlesungen zur Phänomenologie des inneren Zeitbewusstseins veröffentlicht hat. Das zentrale Thema der Schriftensammlung war die Untersuchung zeitlicher Konstitution subjektiven Empfindungsmoments und diesem Moment zugrunde liegende Selbstkonstitution des Zeitbewusstseins.Selbstkonstitution des Zeitbewusstseins basiert vor allem auf Urimpression, Retention und Protention, und diese Prozesse bilden eine Mannigfaltigkeit möglichen Konfigurationen der phänomenologischen Zeit . Alle diese Termini (...)
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  5. Virgil C. Aldrich (1966). Back to Aesthetic Experience. Journal of Aesthetics and Art Criticism 24 (3):365-371.
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  6. Thomas Alexander (2002). The Aesthetics of Reality : The Development of Dewey's Ecological Theory of Experience. In F. Thomas Burke, D. Micah Hester & Robert B. Talisse (eds.), Dewey's Logical Theory: New Studies and Interpretations. Vanderbilt University Press. pp. 3--26.
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  7. Barry Allen (2008). Artifice and Design: Art and Technology in Human Experience. Cornell University Press.
    The book concludes that it is a mistake to think of Art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental ..
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  8. David G. Allen (1978). Aesthetic Perception in Dufrenne's Phenomenology of Aesthetic Experience. Philosophy Today 22 (1):50-64.
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  9. R. T. Allen (1970). The Aesthetic Experience Again. British Journal of Aesthetics 10 (4):344-349.
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  10. Christian G. Allesch (2003). Aesthetic Experience in the Age of Globalization. Dialogue and Universalism 13 (11-12):95-102.
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  11. Meter Amevans (1956). What is Form? Journal of Aesthetics and Art Criticism 15 (1):85-93.
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  12. Luciano Anceschi (1959). L'estetica Dell' Empirismo Inglese. Alfa.
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  13. Douglas R. Anderson (1992). Possibility of the Aesthetic Experience. Idealistic Studies 22 (3):219-220.
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  14. Emma Louise Antz (1930). The Self in the Aesthetic Experience.
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  15. Donald G. Arnstine (1958). Aesthetic Experience in Education. Philosophy of Education:74.
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  16. P. Sven Arvidson (1993). Stability and Achievement in Richard Lind's Aesthetic Theory. Journal of Aesthetics and Art Criticism 51 (4):619-622.
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  17. Karl Aschenbrenner (1976). Conceptual Determination of Aesthetic Experience. Dialectics and Humanism 3 (2):107-115.
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  18. R. N. Austgard (2006). The Aesthetic Experience of Nursing. Nursing Philosophy 7 (1):11–19.
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  19. T. B. (1971). The Aesthetic Field: A Phenomenology of Aesthetic Experience. [REVIEW] Review of Metaphysics 24 (4):741-742.
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  20. Jay E. Bachrach (1974). On Criteria for Aesthetic Experience. Philosophia 4 (2-3):319-326.
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  21. Archie J. Bahm (1958). Aesthetic Experience and Moral Experience. Journal of Philosophy 55 (20):837-846.
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  22. Andrea Baldini (2016). Street Art: A Reply to Riggle. Journal of Aesthetics and Art Criticism 74 (2):187-191.
    In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...)
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  23. Peter Baofu (2007). The Future of Aesthetic Experience: Conceiving a Better Way to Understand Beauty, Ugliness, and the Rest. Cambridge Scholars Press.
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  24. Monroe C. Beardsley (1969). Aesthetic Experience Regained. Journal of Aesthetics and Art Criticism 28 (1):3-11.
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  25. Janos Bekesi (1999). Dufrenne and the Virtual as an Aesthetic Category in Phenomenology. Journal of French and Francophone Philosophy 11 (1).
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  26. Ernest Bender & Raniero Gnoli (1970). The Aesthetic Experience According to Abhinavagupta. Journal of the American Oriental Society 90 (2):412.
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  27. Guy Bennett-Hunter (2014). Ineffability and Religious Experience. Routledge.
    Ineffability—that which cannot be explained in words—lies at the heart of the Christian mystical tradition. It has also been part of every discussion of religious experience since the early twentieth century. Despite this centrality, ineffability is a concept that has largely been ignored by philosophers of religion. In this book, Bennett-Hunter builds on the recent work of David E. Cooper, who argues that the meaning of life can only be understood in terms of an ineffable source on which life depends, (...)
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  28. Guy Bennett-Hunter (2013). Natural Theology and Literature. In Russell Re Manning John Hedley Brooke & Fraser Watts (eds.), The Oxford Handbook of Natural Theology. Oxford University Press.
    In this chapter, I hope to show, by referring to two specific literary examples, that works of literature can demonstrate the possibility of Natural Theology and can prompt their readers’ thinking along Natural Theological lines by allowing them to have experiences which mirror the structure of those dealt with by Natural Theology.
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  29. Arnold Berleant (2007). A Rose by Any Other Name. Filozofski Vestnik 2 (2):151 - +.
    This is an essay on the tasks and capacities of aesthetic theory and the pitfalls that beset it. I want to show that aesthetics can be enlightening by revealing and studying the facets and dimensions of experiences we call aesthetic, experience that is expansive and revelatory. This kind of experience can also clarify the relation of aesthetics to other areas of knowledge, such as cultural studies, and conversely, the bearing of other disciplines on our aesthetic understanding. Aesthetic theory, however, is (...)
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  30. Arnold Berleant (1986). Experience and Theory in Aesthetics. In Michael H. Mitias (ed.), Possibility of the Aesthetic Experience. Distributors for the U.S. And Canada, Kluwer Academic. pp. 91--106.
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  31. Alessandro Bertinetto (2006). Arte como desrealización. Daimon: Revista de Filosofia 39:175-185.
    The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...)
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  32. Landon E. Beyer (1985). Aesthetic Experience for Teacher Preparation and Social Change. Educational Theory 35 (4):385-397.
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  33. V. K. Bharadwaja (2000). Biswas, Goutam: Art as Dialogue: Essays in Phenomenology of Aesthetic Experience. Indian Philosophical Quarterly 27 (1/2):205-205.
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  34. Josebe Miren Bilbao-Henry-de-Bueno (1999). The Aesthetic Experience of the Authentic Painting: A Test for Aesthetic Meaning. Dissertation, Yale University
    Most scholarship about paintings in the Western artistic tradition rests upon the assumption that the object of its analysis is authentic as in "authentic Picasso" or "authentic Rembrandt." In particular, art historical and stylistic analysis of paintings originates from the conviction that the painting in question comes from the hands of an individual painter, and therefore, from the conviction that it is what it purports to be, and was created under a specific set of circumstances. Most views of the aesthetic (...)
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  35. Ulrik Bisgaard (2005). The Return of the Aesthetic Experience of Nature–Historical and Present Conceptions. Nordic Journal of Aesthetics 17 (32).
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  36. Margaret Grace Black (2000). Teaching for the Aesthetic Experience. Dissertation, Lesley University
    This study answered the question, "How to teach for the Aesthetic Experience in the visual arts?" Six women art educators served as study participants. The researcher identified five components of aesthetic experience: perception, cognition, imagination, emotion, and discovery. Informed by theories of conversational teaching methods, aesthetic development, and adult development, the researcher designed and executed a qualitative case study that incorporated all five components. Art viewing, art making, and evaluative response were the tools used in the study to foster aesthetic (...)
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  37. Jane Blanken-Webb, Educating the Self Through Aesthetic Experience.
    This study calls for a shift in the way we think about the mode, meaning, and purpose of education by recognizing the aesthetic dimension. Through deepening Deweyan aesthetic theory with D.W. Winnicott’s ideas on the self, I am addressing a crucial gap in educational literature pertaining to the constitutive role of aesthetics in the growth and development of the self. Put simply, John Dewey’s philosophy upholds the idea that learning and growth is inherent in aesthetic experience because it refines the (...)
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  38. Deanne Bogdan (2003). Musical Spirituality: Reflections on Identity and the Ethics of Embodied Aesthetic Experience in/and the Academy. Journal of Aesthetic Education 37 (2):80-98.
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  39. Minor W. Boyer (1956). An Expansion of Dewey's Groundwork for a General Theory of Value. Journal of Aesthetics and Art Criticism 15 (1):100-105.
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  40. J. G. Brennan (1954). The Aesthetic Experience. [REVIEW] Journal of Philosophy 51 (22):675-676.
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  41. Kenneth Larry Brewer (1998). Lost in a Book: Aesthetic Absorption, 1820-1880. Dissertation, Stanford University
    This dissertation examines "aesthetic absorption" in Victorian England. The feeling of "losing oneself" in a book was the starting-point of Victorian aesthetic experience. Chapter One defines aesthetic absorption, drawing on research into "flow" by contemporary psychologist Mihalyi Csikszentmihalyi. Csikszentmihalyi's subjects, like many Victorian readers, experience absorption when they are fully utilizing their mental and physical capacities. Chapter Two explores a barrier to the experience of aesthetic absorption, "didacticism," focusing on Anthony Trollope. For Trollope, overt didacticism prevents the novel from having (...)
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  42. Maria Brincker (2015). The Aesthetic Stance - on the Conditions and Consequences of Becoming a Beholder. In Alfonsina Scarinzi (ed.), Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Springer. pp. 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...)
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  43. Richard Brown, Kant, Polysolipsism, and the Real Unity of Experience.
    [written in 2002/2003 while I was a graduate student at the University of Connecticut and ultimately submitted as part of my qualifying exam for the Masters of Philosophy] The question I am interested in revolves around Kant’s notion of the unity of experience. My central claim will be that, apart from the unity of experiencings and the unity of individual substances, there is a third unity: the unity of Experience. I will argue that this third unity can be conceived of (...)
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  44. S. Buckler (2003). Our Sense of the Real: Aesthetic Experience and Arendtian Politics. By Kimberley Curtis. The European Legacy 8 (6):806-806.
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  45. Laurence Buermeyer (1927). The Aesthetic Experience. Philosophical Review 36:199.
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  46. Nicolas J. Bullot (2009). Material Anamnesis and the Prompting of Aesthetic Worlds. Journal of Consciousness Studies 16 (1):85-109.
    Many scholars view artworks as the products of cultural history and arbitrary institutional conventions. Others construe art as the result of psychological mechanisms internal to the organism. These historical and psychological approaches are often viewed as foes rather than friends. Is it possible to combine these two approaches in a unified analysis of the perception and consciousness of artworks? I defend a positive answer to this question and propose a psycho-historical theory, which argues that artworks are historical and material artefacts (...)
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  47. Steven Burns & Alice MacLachlan (2004). Getting It: On Jokes and Art. AE: Journal of the Canadian Society of Aesthetics 10.
    “What is appreciation?” is a basic question in the philosophy of art, and the analogy between appreciating a work of art and getting a joke can help us answer it. We first propose a subjective account of aesthetic appreciation (I). Then we consider jokes (II). The difference between getting a joke and not, or what it is to get it right, can often be objectively articulated. Such explanations cannot substitute for the joke itself, and indeed may undermine the very power (...)
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  48. L. S. C. (1943). Aesthetic Experience and the Humanities. Modern Ideas of Aesthetic Experience in the Reading of World Literature. [REVIEW] Journal of Philosophy 40 (21):586-587.
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  49. Elisa Caldarola (2015). Comments on Jerrold Levinson's "Towards a Non-Minimalist Understanding of Aesthetic Experience". Comparative Studies in Modernism 6.
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  50. E. F. Carrit (1963). The Aesthetic Experience of Architecture. British Journal of Aesthetics 3 (1):67-69.
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