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  1. Beyond the Call of Beauty: Everyday Aesthetic Demands Under Patriarchy.Alfred Archer & Lauren Ware - 2018 - The Monist (1):114-127.
    This paper defends two claims. First, we will argue for the existence of aesthetic demands in the realm of everyday aesthetics, and that these demands are not reducible to moral demands. Second, we will argue that we must recognise the limits of these demands in order to combat a widespread form of gendered oppression. The concept of aesthetic supererogation offers a new structural framework to understand both the pernicious nature of this oppression and what may be done to mitigate it.
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  2. Aesthetic Supererogation.Alfred Archer & Lauren Ware - 2017 - Estetika 54 (1):102-116.
    Many aestheticians and ethicists are interested in the similarities and connections between aesthetics and ethics (Nussbaum 1990; Foot 2002; Gaut 2007). One way in which some have suggested the two domains are different is that in ethics there exist obligations while in aesthetics there do not (Hampshire 1954). However, Marcia Muelder Eaton has argued that there is good reason to think that aesthetic obligations do exist (Eaton 2008). We will explore the nature of these obligations by asking whether acts of (...)
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  3. Architecture of Consequence: Dutch Designs on the Future.Ole Bouman, Anneke Abhelakh, Mieke Dings & Martine Zoeteman (eds.) - 2009 - NAI Publishers.
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  4. Love and Tectonics: Epikurean Philosophy and Reparative Architecture.Eric Buck - 2006 - Philosophical Forum 37 (4):457–476.
    To highlight care in architecture, I resuscitate Epicurus’ valorization of friendship in philosophy, contending that friendly love of wisdom is a practice of well-being, ataractic know-how. I emphasize the body as the instrument of the ataractic project of living. John McDermott and architect Christopher Alexander argue that affection has a place in contemporary design: what a person feels love for in the initial situation guides design. I argue that friendship with things leads us to care for and repair them. Repair (...)
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  5. Introduzione.Elisa Caldarola, Quattrocchi Davide & Gabriele Tomasi - 2013 - In Elisa Caldarola, Davide Quattrocchi & Gabriele Tomasi (eds.), Wittgenstein, l’estetica e le arti. Roma - Bari: Carocci.
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  6. Kant on the Normativity of Taste: The Role of Aesthetic Ideas.Andrew Chignell - 2007 - Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...)
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  7. Can Folk Aesthetics Ground Aesthetic Realism?Florian Cova & Nicolas Pain - 2012 - The Monist 95 (2):241-263.
    We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having shown (...)
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  8. Obligations to Artworks as Duties of Love.Anthony Cross - 2017 - Estetika 54 (1):85-101.
    It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of (...)
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  9. Cultural Exclusion, Normativity, and the Definition of Art.Paul Crowther - 2003 - Journal of Aesthetics and Art Criticism 61 (2):121-131.
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  10. Legal Obligation and Aesthetic Ideals: A Renewed Legal Positivist Theory of Law's Normativity.Keith C. Culver - 2001 - Ratio Juris 14 (2):176-211.
  11. Artistic Medium.Wack Daniel - 2017 - Internet Encyclopedia of Philosophy.
    Artistic medium is an art critical concept that first arose in 18th century European discourse about art. Medium analysis has, historically, attempted to identify that out of which works of art and, more generally, art forms are created, in order to better articulate norms or standards by which works of art and art forms can be evaluated. Since the 19th century, medium analysis has emerged in two different forms of art critical and theoretical discourse. Within traditional art forms such as (...)
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  12. Editorial - Aesthetic Reasons and Aesthetic Obligations.Fabian Dorsch - 2017 - Estetika 54 (1):3-19.
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  13. The Limits of Aesthetic Empiricism.Fabian Dorsch - 2014 - In Gregory Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. Oxford University Press. pp. 75-100.
    In this chapter, I argue against empiricist positions which claim that empirical evidence can be sufficient to defeasibly justify aesthetic judgements, or judgements about the adequacy of aesthetic judgements, or sceptical judgements about someone's capacity to form adequate aesthetic judgements. First, empirical evidence provides neither inferential, nor non-inferential justification for aesthetic opinions. Second, while empirical evidence may tell us how we do respond aesthetically to artworks, it cannot tell us how we should respond to them. And, third, empirical insights into (...)
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  14. Non‐Inferentialism About Justification – The Case of Aesthetic Judgements.Fabian Dorsch - 2013 - Philosophical Quarterly 63 (253):660-682.
    In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and other objects is limited to (...)
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  15. Die Grenzen des ästhetischen Empirismus.Fabian Dorsch - 2012 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 57 (2):269-281.
    In den letzten Jahren ist es recht populär geworden, traditionelle Fragen der philosophischen Ästhetik – wie zum Beispiel die nach der Natur und Rechtfertigung ästhetischer Beurteilungen – mithilfe empirischer Forschungsergebnisse zu beantworten zu versuchen. Diesem empiristisch geprägten Ansatz möchte ich gerne eine rationalistisch orientierte Auffassung der ästhetischen Erfahrung und Bewertung von Kunstwerken entgegensetzen. Insbesondere werde ich die ästhetische Relevanz dreier verschiedener Arten empirischer Studien kritisch diskutieren: (i) solcher, die einzelne Kunstwerke unter Einsatz der Natur- oder Geschichtswissenschaften erforschen; (ii) solcher, die (...)
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  16. The Aesthetic Relevance of Empirical Findings.Fabian Dorsch - 2011 - Kongress-Akten der Deutschen Gesellschaft Für Ästhetik 2:1-21.
    Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual artworks (...)
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  17. Kitsch Against Modernity.C. E. Emmer - 1998 - Art Criticism 13 (1):53-80.
    "The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...)
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  18. Aesthetic Evaluation and First-Hand Experience.Nils Franzén - 2018 - Australasian Journal of Philosophy 96 (4):669-682.
    ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...)
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  19. Rationally Agential Pleasure? A Kantian Proposal.Keren Gorodeisky - 2018 - In Lisa Shapiro (ed.), Pleasure: a History. Oxford University Press. pp. 167-194.
    The main claim of the paper is that, on Kant's account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, it has the following two features: (1) It is an affective responsiveness to the question: “what is to be felt disinterestedly”? As such, it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object. (2) Its actuality depends on endorsement: actually feeling it involves its endorsement as an (...)
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  20. Value First: Comments on Mohan Matthen’s ‘The Pleasure of Art’.Keren Gorodeisky - 2017 - Australasian Philosophical Review 1 (1):79-84.
    While I welcome Mohan Matthen’s insistence that art is connected to aesthetic pleasure, I worry about his commitment to viewing pleasure as prior to, and constitutive of, the value of art. I raise my reservations by (i) dispelling his criticism of the reversed explanatory direction, and (ii) showing problems for his commitment. As an alternative, I offer an account of pleasure that explains it in terms of the independent value of art—an account that is free of the problems Matthen raises (...)
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  21. A New Look at Kant's View of Aesthetic Testimony.Keren Gorodeisky - 2010 - British Journal of Aesthetics 50 (1):53-70.
    In this paper I explore the following threefold question: first, is there a genuine problem of grounding aesthetic judgement in testimony? Second, if there is such a problem, what exactly is its nature? And lastly, can Kant help us get clearer on the problem? Following Kant, I argue that the problem with aesthetic testimony is explained by norms that govern what it takes to judge a beautiful object aesthetically, rather than theoretically or practically, not by norms that govern what it (...)
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  22. Truth's Harmony in Plato's Musical Cosmos.Douglas V. Henry - 1996 - Dissertation, Vanderbilt University
    Plato provocatively characterizes truth $$ in terms of harmony $$ at various points throughout his dialogues. While limited attention has been directed toward the role of musical concepts in Plato's general cosmology, not any attention has been directed toward how musical concepts function in relation to Plato's characterization of truth. In fact, this issue has had little occasion for consideration. Almost every contemporary translator empties terms such as $\grave\alpha\rho\mu o\nu\acute\iota\alpha,$ when co-incidental with $\acute\alpha\lambda\acute\eta\theta\varepsilon\iota\alpha,$ of their musical content. As a consequence, (...)
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  23. The Heart of the Matter: Forgiveness as an Aesthetic Process.A. G. Holdier - 2016 - In Court Lewis (ed.), The Philosophy of Forgiveness - Volume II: New Dimensions of Forgiveness. Wilmington, DE: Vernon Press. pp. 47-70.
    This paper assesses the aesthetic components of the experience of forgiveness to develop a procedural model of the phenomenological process that negotiates cognitive judgments and understanding with emotional affective states. By bringing the Greek concepts of kalokagathia and eudaimonia into conversation with Ricoeur’s “solicitude,” I suggest that the impetus for engaging in the process of forgiveness is best understood narratively as the pursuit of a life well lived (in terms of beauty). Consequently, forgiveness is revealed as a technique for developing (...)
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  24. Function and Normativity in Hutcheson's Aesthetic Epistemology.Pje Kail - 2000 - British Journal of Aesthetics 40 (4):441-451.
    This paper discusses what the function of the aesthetic sense is for Hutcheson, and how its function bears on a number of exegetical issues viz. Whether there is any possibility of objectivity within the scope of the theory and what the status of his analogy between secondary qualities and beauty actually amounts to. I argue that the aesthetic sense is analogous to a prevalent account of bodily sensations, which saw bodily sensation as having the function jointly signalling and eliciting motivational (...)
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  25. Inviting Complementary Perspectives on Situated Normativity in Everyday Life.Pim Klaassen, Erik Rietveld & Julien Topal - 2010 - Phenomenology and the Cognitive Sciences 9 (1):53-73.
    In everyday life, situations in which we act adequately yet entirely without deliberation are ubiquitous. We use the term “situated normativity” for the normative aspect of embodied cognition in skillful action. Wittgenstein’s notion of “directed discontent” refers to a context-sensitive reaction of appreciation in skillful action. Extending this notion from the domain of expertise to that of adequate everyday action, we examine phenomenologically the question of what happens when skilled individuals act correctly with instinctive ease. This question invites exploratory contributions (...)
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  26. "Identity and Judgment: Five Theses and a Program".David Kolb - 1994 - Nordic Journal of Architectural Research:37-40.
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  27. The Normativity of Humor.Matthew Kotzen - 2015 - Philosophical Issues 25 (1):396-414.
  28. O Valor da Arte.António Lopes - 2014 - Compêndio Em Linha de Problemas de Filosofia Analítica.
    O artigo parte do consenso sobre a facto de que a arte tem valor para a exploração dos vários problemas sobre esse valor cujas soluções dividem os filósofos da arte. O enfoque é especialmente sobre a dimensão mais actual do debate em torno do tema, que se debruça não tanto sobre questões como o realismo quanto aos valores estéticos e a objectividade e justificação dos juízos de valor estético, mas acima de tudo sobre a natureza do valor artístico – que (...)
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  29. Relativismo na Avaliação de Execuções Musicais.António Lopes - 2006 - Philosophica 27:121-134.
    This is the first of a series of papers in which I present a defense of moderate objectivism about the evaluation of performances of musical works in the Western classical tradition.
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  30. Aesthetic Experts, Guides to Value.Dominic Mciver Lopes - 2015 - Journal of Aesthetics and Art Criticism 73 (3):235-246.
    A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...)
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  31. Responding to Aesthetic Reasons.Andrew McGonigal - forthcoming - Estetika.
    What makes a certain consideration an aesthetic reason rather than a reason of some other kind? Is it a solely a matter of the kind of attitude or activity that the reason supports? How fundamental or structural are such reasons? Do they contrast in a natural way with epistemic or practical reasons? Is skilled aesthetic achievement, whether interpretative or creative, a matter of recognizing the aesthetic reasons we have for a given response, and correctly according with such reasons? In this (...)
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  32. The Problem of Cinematic Imagination.Rafe Mcgregor - 2012 - Contemporary Aesthetics 10.
    The purpose of this paper is to twofold: to identify the problem of cinematic imagination, and then to propose a satisfactory solution. In §1 I analyse the respective claims of Dominic McIver Lopes and Roger Scruton, both of whom question the scope for imagination in film – when compared to other art forms – on the basis of its perceptual character. In order to address these concerns I develop a hybrid of Gregory Currie’s model of cinematic imagination and Kendall Walton’s (...)
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  33. Art and Ethics in a Material World: Kant’s Pragmatist Legacy.Jennifer A. McMahon - 2013 - Routledge.
    In this book, McMahon argues that a reading of Kant’s body of work in the light of a pragmatist theory of meaning and language leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant’s "Critique of Aesthetic Judgment," and this is the conception of community which it sets forth. While offering an interpretation of Kant’s aesthetic theory, (...)
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  34. Aesthetics and Material Beauty: Aesthetics Naturalized.Jennifer A. McMahon - 2007 - Routledge.
    In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According to her update (...)
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  35. On Form, and the Possibility of Moral Beauty.Panos Paris - 2018 - Metaphilosophy 49 (5):711-729.
    There is a tendency in contemporary (analytic) aesthetics to consider- ably restrict the scope of things that can be beautiful or ugly. This peculiarly modern tendency is holding back progress in aesthetics and robbing it of its potential contribution to other domains of inquiry. One view that has suffered neglect as a result of this tendency is the moral beauty view, whereby the moral virtues are beautiful and the moral vices are ugly. This neglect stems from an assumption to the (...)
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  36. Fitting Attitude Theory and the Normativity of Jokes.Stephanie Patridge & Andrew Jordan - forthcoming - Erkenntnis:1-18.
    We defend a fitting-attitude theory of the funny against a set of potential objections. Ultimately, we endorse a version of FA theory that treats reasons for amusement as non-compelling, metaphysically non-conditional, and alterable by social features of the joke telling context. We find that this version of FA theory is well-suited to accommodate our ordinary practices of telling and being amused by jokes, and helpfully bears on the related faultless disagreement dispute.
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  37. Cultural Exclusion, Normativity, and the Definition of Art. PaulCrowther - 2003 - Journal of Aesthetics and Art Criticism 61 (2):121–131.
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  38. Novels as Arguments.Gilbert Plumer - 2011 - In Frans H. van Eemeren, Bart Garssen, David Godden & Gordon Mitchell (eds.), Proceedings of the Seventh International Conference of the International Society for the Study of Argumentation [CD-ROM]. Amsterdam: Rozenberg / Sic Sat. pp. 1547-1558.
    The common view is that no novel IS an argument, though it might be reconstructed as one. This is curious, for we almost always feel the need to reconstruct arguments even when they are uncontroversially given as arguments, as in a philosophical text. We make the points as explicit, orderly, and (often) brief as possible, which is what we do in reconstructing a novel’s argument. The reverse is also true. Given a text that is uncontroversially an explicit, orderly, and brief (...)
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  39. Hume's Standard of Taste and the de Gustibus Sceptic.Brian Ribeiro - 2007 - British Journal of Aesthetics 47 (1):16-28.
    In 'Of the Standard of Taste' Hume aspires to silence the 'extravagant' cavils of the anything-goes de gustibus sceptic by developing a programme of aesthetic education that would lead all properly-trained individuals to a set of agreed-upon aesthetic judgements. But I argue that if we read Hume's essay as an attempted direct theoretical refutation of de gustibus scepticism, Hume fails to achieve his aim. Moreover, although some recent commentators have read the essay as aiming at a less ambitious ‘sceptical solution’ (...)
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  40. Situated Normativity: The Normative Aspect of Embodied Cognition in Unreflective Action.Erik Rietveld - 2008 - Mind 117 (468):973-1001.
    In everyday life we often act adequately, yet without deliberation. For instance, we immediately obtain and maintain an appropriate distance from others in an elevator. The notion of normativity implied here is a very basic one, namely distinguishing adequate from inadequate, correct from incorrect, or better from worse in the context of a particular situation. In the first part of this paper I investigate such ‘situated normativity’ by focusing on unreflective expert action. More particularly, I use Wittgenstein’s examples of craftsmen (...)
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  41. A Call for Strategic Interventions.Ronald Rietveld & Erik Rietveld - 2009 - In Ole Bouman, Anneke Abhelakh, Mieke Dings & Martine Zoeteman (eds.), Architecture of Consequence: Dutch Designs on the Future. NAI Publishers.
    Given the contemporary complexity of cities, landscape and society, urgent social tasks call for an integral, multidisciplinary approach. Rietveld Landscape’s strategic interventions focus and use the forces of existing developments and processes. This design method creates new opportunities for landscape, architecture, the public domain, ecology, recreation and economic activity.
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  42. Numbing the Heart: Racist Jokes and the Aesthetic Affect.Tanya Rodriguez - 2014 - Contemporary Aesthetics 12.
    People sometimes resist the idea that racist humor fails on aesthetic grounds because they find it funny. They make the case that we can enjoy its comic aspects by controlling our attention, by focusing on a joke’s rhythm or delivery rather than on its racist content. Ironic intent may reside with the joke teller and/or the audience. I discuss how arguments for the immorality of racist jokes fall short. Ironic racist jokes may be acceptable to an audience that already rejects (...)
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  43. In Defense of Comic Pluralism.Nathaniel Sharadin - 2017 - Ethical Theory and Moral Practice 20 (2):375-392.
    Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.
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  44. The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge.Stephen Snyder - 2015 - CounterText 1 (3).
    Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...)
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  45. Aesthetic Internalism and Two Normative Puzzles.Caj Strandberg - 2016 - Studi di Estetica 6:23-70.
    One of the most discussed views in metaethics is Moral Internalism, according to which there is a conceptually necessary connection between moral judgments and motivation to act. Moral Internalism is regarded to yield the prime argument against Moral Cognitivism and for Moral Non-Cognitivism. In this paper, I investigate the significance of the corresponding claim in metaaesthetics. I pursue two lines of argument. First, I argue that Aesthetic Internalism – the view that there is a conceptually necessary connection between aesthetic value (...)
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  46. Die Komödie der Tragödie: Shakespeares Sturm am Umschlagplatz von Mythos und Moderne, Rache und Recht, Tragik und Spiel.Katrin Trüstedt - 2011 - Konstanz: Konstanz University Press.
  47. Beauty (English Version).John Zeimbekis - forthcoming - In J. Deonna E. Tieffenbach (ed.), Petit dictionnaire des valeurs. Editions de l'Ithaque.
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  48. Substantive and Deflationist Aesthetic Value.John Zeimbekis - unknown
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  49. Intensive Magnitudes and the Normativity of Taste.Melissa Zinkin - 2006 - In Rebecca Kukla (ed.), Aesthetics and Cognition in Kant's Critical Philosophy. Cambridge University Press.