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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 2020-04-24
    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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  3. added 2020-04-02
    Arrangement and Timing: Photography, Causation and Anti-Empiricist Aesthetics.Dan Cavedon-Taylor - forthcoming - Ergo: An Open Access Journal of Philosophy.
    According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas handmade pictures acquire their depictive content from their makers’ intentional states about the world. CTP suffers from what I call the Problem of the Missing Agent: it seemingly leaves no room for the photographer to occupy a causal role in the production of their pictures and so is inconsistent with an aesthetics of photography. In this paper, I do three things. First, I amend (...)
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  4. 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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  5. added 2020-03-21
    Waltonian Perceptualism.Madeleine Ransom - 2020 - Journal of Aesthetics and Art Criticism 78 (1):66-70.
    Kendall Walton’s project in ‘Categories of Art’ (1970) is to answer two questions. First, does the history of an artwork’s production determine its aesthetic properties? Second, how – if at all – should knowledge of the history of a work’s production influence our aesthetic judgments of its properties? While his answer to the first has been clearly understood, his answer to the second less so. Contrary to how many have interpreted Walton, such knowledge is not necessary for making aesthetic judgments; (...)
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  6. 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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  7. added 2020-02-11
    The Relation Between G.W. F. Hegel’s Concept of Reason and Blanchot’s Space of Literature.Victoria I. Burke - forthcoming - Continental Philosophy Review.
    In this article, I shall advance an interpretation of G.W.F. Hegel's category of reason [Vernunft] and its affinities with Maurice Blanchot's literary theory. In Hegel's Phenomenology of Spirit, reason’s sense-making power develops along a trajectory that takes in perception (chapter 2), self-consciousness (chapter 4), and the actualization of reason [Die Verwirklichung des vernuenftigen Selbstbewusstseins] (chapter 5). This movement of self-conscious actualization toward reason is the immediate precondition for the mind [der Geist]. Hegel depends upon literary examples for part of his (...)
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  8. added 2020-02-11
    Values of Beauty: Historical Essays in Aesthetics.Cain Todd - 2007 - Philosophical Quarterly 57 (227):313-316.
  9. added 2020-02-11
    The Metaphysics of Beauty.Gavin McIntosh - 2004 - Mind 113 (449):221-226.
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  10. added 2020-02-11
    Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgment.Anthony Savile - 2002 - Mind 111 (442):355-360.
  11. added 2020-02-11
    Kant and the Ends of Aesthetics.Paul Guyer - 2002 - Mind 111 (442):363-366.
    "The importance and significance of Kant's aesthetics have been widely debated. This work presents an original interpretation of Kant's account which is based on rethinking the nature of Critical Philosophy. Gary Banham presents the argument that the Critique of Judgment needs to be read as a whole. Aesthetics is investigated in relation to all three critiques with the recovery of a larger sense of the 'aesthetic' resulting. This broader notion of aesthetics is connected to the recovery of the critique of (...)
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  12. added 2020-01-31
    Aesthetic Dissonance. On Behavior, Values, and Experience Through New Media.Adrian Mróz - 2019 - Hybris 47:1-21.
    Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and meaningful (...)
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  13. 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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  14. added 2020-01-06
    Trump is Gross: Taking Political Taste Seriously.Shelley Park - 2017 - Kennedy Institute of Ethics Journal 27 (S2):23-42.
    My 5-year-old granddaughter refers to foods, clothes, and people she does not like as “supergross.” It is a verbiage that I have found myself adopting for talking about many things Trumpian, including the man himself. The gaudy, gold-plated everything in Trump Towers; his ill-fitting suits; his poorly executed fake tan and comb-over; his red baseball cap emblazoned with “Make America Great Again;” his creepy way of talking about women ; his racist vitriol about Blacks, Muslims and Mexicans; his blatant over-the-top (...)
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  15. added 2019-12-13
    Measure for Measure: Wittgenstein's Critique of the Augustinian Picture of Music.Eran Guter - 2019 - In Hanne Appelqvist (ed.), Wittgenstein and the Limits of Language. London: Routledge. pp. 245-269.
    This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...)
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  16. added 2019-12-01
    On Hybrid Expressivism About Aesthetic Judgments.Sanna Hirvonen, Natalia Karczewska & Michał P. Sikorski - 2019 - Grazer Philosophische Studien 96 (4):541-568.
    Contextualist accounts of aesthetic predicates have difficulties explaining why we feel that speakers are disagreeing when they make true and compatible but superficially contradictory aesthetic judgments. One possible way to account for the disagreement is hybrid expressivism, which holds that the disagreement happens at the level of pragmatically conveyed, clashing contents about the speakers’ conative states. Marques defends such a strategy, combining dispositionalism about value, contextualism, and hybrid expressivism. This paper critically evaluates the plausibility of the suggested pragmatic mechanisms in (...)
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  17. added 2019-07-28
    Communicability Of Pleasure And Normativity Of Taste In Kant’s Third Critique.Iskra Fileva - 2007 - Postgraduate Journal of Aesthetics 4 (2):11-18.
    Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it looks, on (...)
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  18. added 2019-07-28
    Can One Be A Quasi-Realist About The Aesthetic?Christopher Dowling - 2006 - Postgraduate Journal of Aesthetics 3 (3):100-109.
    For ordinary judgements it is often the case that it may be justifiable to change one's mind given that others agree in holding an opposing view. In the case of judgements of beauty this is never the case; these are autonomous. Robert Hopkins has discussed the following (familiar) explanation: Judgements of beauty are not genuine assertions at all; rather they are expressions of some response or experience. Since to acknowledge the disagreement of others is not to respond to objects as (...)
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  19. added 2019-07-22
    The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 53 (4):1-22.
    The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...)
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  20. added 2019-06-19
    "I Like How It Looks but It is Not Beautiful" -- Sensory Appeal Beyond Beauty.Claudia Muth, Jochen Briesen & Claus-Christian Carbon - forthcoming - Poetics.
    Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...)
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  21. added 2019-06-19
    A Linguistic Specification of Aesthetic Judgments.Jochen Briesen - 2019 - British Journal of Aesthetics 59 (4):373-391.
    This paper aims to delineate the class of aesthetic judgments linguistically. The main idea is that aesthetic judgments can be specified by a certain set of assertibility conditions, i.e., by norms that govern appropriate speech-acts. This idea is spelled out in detail and defended against various objections. The suggestion leads to an interesting account of aesthetic judgments that is theoretically fruitful: It provides the basis for a non-circular and satisfying characterization of the whole domain of aesthetic research and it marks (...)
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  22. added 2019-06-07
    On Luigi Pareyson's L'Estetica di Kant: A Review ArticleL'Estetica di Kant.Merle E. Brown & Luigi Pareyson - 1971 - Journal of Aesthetics and Art Criticism 29 (3):403.
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  23. added 2019-06-06
    A More Beautiful Question: The Spiritual In Poetry And Art. [REVIEW]Hugo Meynell - 2013 - Heythrop Journal 54 (6):1084-1085.
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  24. added 2019-06-06
    The Ugly Truth: Negative Aesthetics and Environment: Emily Brady.Emily Brady - 2011 - Royal Institute of Philosophy Supplement 69:83-99.
    In autumn 2009, BBC television ran a natural history series, ‘Last Chance to See’, with Stephen Fry and wildlife writer and photographer, Mark Carwardine, searching out endangered species. In one episode they retraced the steps Carwardine had taken in the 1980s with Douglas Adams, when they visited Madagascar in search of the aye-aye, a nocturnal lemur. Fry and Carwardine visited an aye-aye in captivity, and upon first setting eyes on the creature they found it rather ugly. After spending an hour (...)
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  25. added 2019-06-06
    Kant and His German Literary Culture: Coincidences and Consequences: Articles.T. J. Reed - 2010 - British Journal of Aesthetics 50 (4):343-356.
    The literary scene of Kant’s day goes unmentioned by philosophical commentators. Yet some of its salient features have a clear relation to his problems and positions, not demonstrably causal in every detail, but too close overall to be coincidence in the random sense. Kant’s critical view of society and his establishing of an independent aesthetic realm parallel the themes, and the arguments in self-defence, of contemporaneous radical writing; his discussion of how to exemplify ethical arguments bears on the general Enlightenment (...)
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  26. added 2019-06-06
    What Happened to Kant in Neo-Kantian Aesthetics? Cohen, Cohn, and Dilthey 1.Paul Guyer - 2008 - Philosophical Forum 39 (2):143-176.
  27. added 2019-06-06
    Humean Critics: Real or Ideal?: Articles.Stephanie Ross - 2008 - British Journal of Aesthetics 48 (1):20-28.
    This paper attempts a rational reconstruction of the Humean notion of an ideal critic. Claiming that the traits of practice and comparison can only arise through the gradual accumulation of experience, I argue that Humean critics are real, not ideal. After discussing the nature of perfection and the relation of delicacy to the other Human traits, I propose two supplements to Hume's list: imaginative fluency and emotional responsiveness. I close by examining a trio of challenges to my view and supporting (...)
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  28. added 2019-06-06
    The Psychology Of Kant’s Aesthetics.Paul Guyer - 2008 - Studies in History and Philosophy of Science Part A 39 (4):483-494.
    Contrary to both his own intentions and the views of both older and more recent commentators, I argue that Kant’s aesthetics remains within the confines of eighteenth-century aesthetics as a branch of empirical psychology, as it was then practiced. Kant established a plausible connection between aesthetic experience and judgment on the one hand and cognition in general on the other, through his explanatory concept of the free play of our cognitive powers. However, there is nothing distinctly ‘a priori’ or ‘transcendental’ (...)
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  29. added 2019-06-06
    Irony and Singularity: Aesthetic Education From Kant to Levinas: Book Reviews. [REVIEW]Pradeep Dhillon - 2007 - British Journal of Aesthetics 47 (2):221-223.
  30. added 2019-06-06
    An Introduction to Kant's Aesthetics: Core Concepts and Problems: Book Reviews. [REVIEW]Miles Rind - 2007 - British Journal of Aesthetics 47 (1):105-106.
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  31. added 2019-06-06
    Between the Sublime and the Beautiful: Play of Desire in Nietzsche.Ajay Bhadra Khanal - 2007 - Journal of Philosophy: A Cross-Disciplinary Inquiry 3 (7):1-13.
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  32. added 2019-06-06
    Kant's Rationalist Aesthetics.Rachel Zuckert - 2007 - Kant-Studien 98 (4):443-463.
    It is quite standard, even banal, to describe Kant's project in the Critique of Pure Reason [KrV] as a critical reconciliation of rationalism and empiricism, most directly expressed in Kant's claim that intuitions and concepts are two distinct, yet equally necessary, and necessarily interdependent sources of cognition. Similarly, though Kant rejects both the rationalist foundation of morality in the concept of perfection and that of the empiricists in feeling or in the moral sense, one might broadly characterize Kant's moral philosophy (...)
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  33. added 2019-06-06
    A Beautiful Game.Serafina Cuomo - 2006 - Studies in History and Philosophy of Science Part A 37 (2):337-343.
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  34. added 2019-06-06
    Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. [REVIEW]Paul Guyer - 2002 - Journal of the History of Philosophy 40 (3):406-408.
    Paul Guyer - Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment - Journal of the History of Philosophy 40:3 Journal of the History of Philosophy 40.3 406-408 Book Review Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment Henry E. Allison. Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. New York: Cambridge University Press, 2001. Pp. xvi + 424. Cloth, $69.95. Paper, $24.95. In his new book, Henry Allison provides (...)
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  35. added 2019-06-06
    Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgment. [REVIEW]John McGuire - 2002 - Graduate Faculty Philosophy Journal 23 (2):242-245.
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  36. added 2019-06-06
    The Beautiful and the Good: A Common Sense and Point of View.E. M. Dadlez - 1999 - Southwest Philosophy Review 15 (1):99-106.
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  37. added 2019-06-06
    Real Beauty. [REVIEW]Alan H. Goldman - 1999 - Dialogue 38 (3):667-670.
    This is as much a book in metaphysics as æsthetics. Zemach supports his views of æsthetic properties and fictional entities by proposing an original basic ontology. There are not many examples from or observations on particular artworks, although he does make some interesting claims about contemporary art and the source of its value. But for originality and depth, for the systematic nature of its vision and the rigour and clarity of its arguments, it is hard to praise this book too (...)
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  38. added 2019-06-06
    Are Kant’s “Aesthetic Judgment” and “Judgment of Taste” Synonymous?Theodore A. Gracyk - 1990 - International Philosophical Quarterly 30 (2):159-172.
  39. added 2019-06-06
    Kant and the Claims of Knowledge. [REVIEW]Robert Hanna - 1989 - Review of Metaphysics 42 (3):622-624.
    Kant, as any student of the Critique of Pure Reason will know, is a transcendental idealist. It is of course a commonplace of Kant-interpretation that transcendental idealism is basic to Kant's theory of knowledge. But Paul Guyer, in Kant and the Claims of Knowledge, proposes a revisionist thesis on this score. The thesis can be expressed in five parts: that idealism is a very implausible and indefensible aspect of Kant's epistemology; that Kant's official version of transcendental epistemology entails idealism; that (...)
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  40. added 2019-06-06
    Essays in Kant's Aesthetics. [REVIEW]Robert Hanna - 1983 - Review of Metaphysics 36 (4):919-921.
    Unlike most collections of essays by various writers, Essays in Kant's Aesthetics is unified by considerations not restricted merely to the subject denoted by the title of the book. Cohen and Guyer's Preface and Introduction make it clear that the essays have been chosen with some care and with an eye to certain thematic structures established by the editors. In consonance with this, the book falls into four parts. The first part, "Pleasure, Beauty, and Judgment," contains essays by Guyer, R. (...)
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  41. added 2019-06-06
    Autonomy and Integrity in Kant’s Aesthetics.Paul Guyer - 1983 - The Monist 66 (2):167-188.
    “That the imagination should be both free and yet of itself conformable to law, that is, that it should carry autonomy with it, is a contradiction.” So Kant writes to express as a paradox the epistemological problem that the feeling on which an aesthetic judgment is based must be free of the constraint provided by determinate concepts, for otherwise there will be no reason why it should be pleasurable, yet must also be subject to some kind of rule, for otherwise (...)
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  42. added 2019-06-06
    Critique of Taste. [REVIEW]E. I. R. - 1981 - Review of Metaphysics 35 (1):123-125.
    A most interesting attempt to weld together a Marxist and a semiotic approach to art. The Marxist insistence upon the historicity of consciousness and the categories in which it expresses itself is accompanied by a systematic semiotically oriented reflection upon the epistemological conditions of meaning. The principal target of della Volpe's project is the Crocean theme that there is something supra-rational conveyed by a work of art, some cosmic feeling or some ineffable content, accessible only to intuition. Della Volpe's position, (...)
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  43. added 2019-06-06
    Kant’s Logic of Aesthetic Judgment. [REVIEW]Peter Baumanns - 1981 - Philosophy and History 14 (1):23-25.
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  44. added 2019-06-06
    Kant and the Claims of Taste. [REVIEW]R. H. - 1979 - Review of Metaphysics 33 (2):430-432.
    According to Guyer, Kant’s entire aesthetic theory rests on the imputation of intersubjectivity to judgments of taste. Empiricist theories could not establish intersubjectivity; rationalist ones could do so only by construing aesthetic judgment as confused cognitive or moral judgment. But even in the pre-Critical aesthetics, which Guyer teases out of Reflexionen, letters, and student notes, anticipations of a duality in intersubjectivity’s aesthetic function can be found. The first version and the printed version of the Critique of Judgment’s Introduction, in differentiating (...)
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  45. added 2019-06-06
    Kovach’s “Subjective” Definition of Beauty.Olaf Tollefsen - 1979 - New Scholasticism 53 (1):128-135.
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  46. added 2019-06-06
    Objectivity and Existential Meaning of the Beautiful. Investigations of Kant’s ‘Critique of Aesthetic Judgment’. [REVIEW]Werner Flach - 1979 - Philosophy and History 12 (1):37-38.
  47. added 2019-06-06
    Interest, Nature, and Art: A Problem In Kant’s Aesthetics.Paul Guyer - 1978 - Review of Metaphysics 31 (4):580-603.
    In this paper, however, I will argue that Kant’s restriction of interest to natural rather than artistic beauty should not be taken as a basic aspect of his aesthetic theory, and thus need not affect our assessment of that theory’s more basic claims. First, I will suggest that Kant’s theory of intellectual interest is not really necessary to explain what we ordinarily mean by an interest in beautiful objects—a desire to preserve them for repeated experience, a motivation for our efforts (...)
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  48. added 2019-06-06
    A New Theory of Beauty. [REVIEW]J. F. J. - 1976 - Review of Metaphysics 30 (1):139-140.
    Philosophers are notorious for their disagreements and this seems to be intensified in the area of aesthetics. One of the few matters in aesthetics on which there has been general agreement concerns the concept of beauty. The prevailing attitude in our century towards theories of beauty has been that they are useless or nonsensical or worse. That there has been general agreement with this thesis is evident from the fact that discussions about beauty are rare today and favorable discussions of (...)
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  49. added 2019-06-06
    Kant’s Aesthetic Theory. [REVIEW]M. J. - 1975 - Review of Metaphysics 28 (4):748-749.
    Unquestionably, Kant wrote one of the most important works in aesthetics. Yet, in comparison with the amount of work philosophers have done in other areas of his philosophy, surprisingly little has been done with the aesthetics. Crawford’s book is a welcome and useful attempt to remedy this situation by presenting a sustained and critical exposition of the major argument in The Critique of the Aesthetic Judgment.
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  50. added 2019-06-06
    Experience and Judgment. [REVIEW]S. R. - 1973 - Review of Metaphysics 27 (2):391-392.
    This book is a good example of Husserl’s phenomenology at work. It contains three parts, each filled with interesting analyses. Part One examines prepredicative experience and describes how certain aspects come to prominence against others, how similarities arise, how a prepredicative sense of attribution occurs. It discusses the difference between the ego’s being affected and his act of attention, explores prepredicative modalities, and the elementary state of relations in experience. In Part Two Husserl moves to explicit predication as his theme, (...)
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