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1 — 50 / 269
  1. added 2020-05-09
    The Allure of the Serial Killer.Eric Dietrich & Tara Fox Hall - 2010 - In Sara Waller (ed.), Serial Killers and Philosophy. John Wiley.
    What is it about serial killers that grips our imaginations? They populate some of our most important literature and art, and to this day, Jack the Ripper intrigues us. In this paper, we examine this phenomenon, exploring the idea that serial killers in part represent something in us that, if not good, is at least admirable. To get at this, we have to peel off layers of other causes of our attraction, for our attraction to serial killing is complex (it (...)
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  2. added 2020-03-05
    On Beauty: All Roads Disgorge to Black Decay.Francisco Valdez - manuscript
    When Kant begins his judgements of beauty in several step eventually, we reach a nexus to which taste and a certain subjectivity is taken into account. But at the end of the day we ask ourselves why is it beautiful? There are certain objects such as tragic poems and video games that are beautiful deemed beautiful. In this essay I will explore the tension created by Kant’s judgements of beauty and the beauty of tragedy through the medium of poetry and (...)
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  3. 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.
  4. 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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  5. 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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  6. added 2019-11-28
    Functional Beauty, Pleasure, and Experience.Panos Paris - forthcoming - Australasian Journal of Philosophy:1-15.
    I offer a set of sufficient conditions for beauty, drawing on Parsons and Carlson’s account of ‘functional beauty’. First, I argue that their account is flawed, whilst falling short of...
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  7. added 2019-10-28
    Love Song for the Life of the Mind: An Essay on the Purpose of Comedy.Gene Fendt - 2007 - Washington, DC, USA: Catholic University of America Press.
    Prefaced by an argument that the ancients understood mimesis as fundamental to being human, and art as therefore essential to human moral and intellectual development, this book starts from the problematic status of the (happily ending) Iphigenia in Poetics. How Aristotle must explicate tragedy to hold Iphigenia as the best thus sets up the exploration of comedy. Chapter two shows that comedy aims at the catharsis of desire and sympathy. This analysis is then applied in detail to Aristophanes’ Acharnians, Shakespeare’s (...)
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  8. added 2019-07-22
    On Liking Aesthetic Value.Keren Gorodeisky - forthcoming - Philosophy and Phenomenological Research.
    According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...)
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  9. 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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  10. added 2019-07-13
    Feeling for Freedom: K. C. Bhattacharyya on Rasa.Dominic McIver Lopes - 2019 - British Journal of Aesthetics 59 (4):465-477.
    Aesthetic hedonists agree that an aesthetic value is a property of an item that stands in some constitutive relation to pleasure. Surprisingly, however, aesthetic hedonists need not reduce aesthetic normativity to hedonic normativity. They might demarcate aesthetic value as a species of hedonic value, but deny that the reason we have to appreciate an item is simply that it pleases. Such is the approach taken by an important strand of South Asian rasa theory that is represented with great clarity and (...)
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  11. added 2019-06-06
    Schopenhauer on Aesthetic Understanding and the Values of Art.Bart Vandenabeele - 2008 - European Journal of Philosophy 16 (2):194-210.
    The article explores German philosopher Arthur Schopenhauer's view on aesthetics and the values of art. It contends that some important aspects of Schopenhauer's discussion of tragedy indicate that the theory that the value of art is deductible to the aesthetic pleasure it affords is inadequate. Moreover, it claims that Schopenhauer attaches great importance to the distinction between concept and idea. It also asserts that Schopenhauer's account of aesthetic experience is inspired by Plato's ideas.
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  12. added 2019-06-06
    On Form: Poetry, Aestheticism, and the Legacy of a Word.Angela Leighton - 2007 - Oxford University Press UK.
    What is form? Why does form matter? In this imaginative and ambitious study, Angela Leighton assesses not only the legacy of Victorian aestheticism, and its richly resourceful keyword, 'form', but also the very nature of the literary. She shows how writers, for two centuries and more, have returned to the idea of form as something which contains the secret of art itself. She tracks the development of the word from the Romantics to contemporary poets, and offers close readings of, among (...)
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  13. added 2019-06-06
    Eva Schaper.T. J. Diffey - 1993 - British Journal of Aesthetics 33 (1):1-4.
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  14. added 2019-06-06
    Pleasure, Preference and Value: Studies in Philosophical Aesthetics Edited by Eva Schaper Cambridge University Press, 1983, Xi + 172 Pp., £17.50, $29.95 - Aesthetics: Form and Emotion By David Pole London: Duckworth1983, Viii + 248 Pp., £18.00. [REVIEW]Graham Mcfee - 1984 - Philosophy 59 (230):535-539.
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  15. added 2019-06-05
    Constructing Aesthetic Value: Responses to My Commentators.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):100-111.
    This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a work of art (...)
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  16. added 2019-06-05
    Morally Corrupt Aesthetic Pleasure? Neuber - 2014 - Journal of Aesthetic Education 48 (1):90.
    It may be surprising that the paradox of tragedy is worthy of further attention.1 After all, there are good reasons to assume that at least several of its presuppositions are problematic. Furthermore, it has been questioned whether the paradox forms a problem of its own or if it should be discussed as an issue within the field of pleasurable negative emotions.2 Reasonable objections seem no less important, which regard it as far from self-evident that rational agents merely seek pleasure or (...)
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  17. added 2019-06-05
    Pleasure, Preference and Value: Studies in Philosophical Aesthetics.T. J. Diffey & Eva Schaper - 1984 - Journal of Aesthetics and Art Criticism 43 (1):96.
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  18. added 2019-05-13
    A. D. Nuttall: Why Does Tragedy Give Pleasure? Pp. X + 110. Oxford: Clarendon Press, 1996. £20. ISBN: 0-19-818371-2.Stephen Halliwell - 1998 - The Classical Review 48 (1):205-205.
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  19. added 2019-04-26
    Aesthetic Pleasure Explained.Rafael De Clercq - 2019 - Journal of Aesthetics and Art Criticism 77 (2):121-132.
    One of the oldest platitudes about beauty is that it is pleasant to perceive or experience. In this article, I take this platitude at face value and try to explain why experiences of beauty are seemingly always accompanied by pleasure. Unlike explanations that have been offered in the past, the explanation proposed is designed to suit a “realist” view on which beauty is an irreducibly evaluative property, that is, a value. In a nutshell, the explanation is that experiences of beauty (...)
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  20. added 2019-03-01
    Feminist Pleasure and Feminine Beautification.Ann J. Cahill - 2003 - Hypatia 18 (4):42-64.
    This paper explores the conditions under which feminine beautification constitutes a feminist practice. Distinguishing between the process and product of beautification allows us to isolate those aesthetic, interapos;Subjective, and embodied elements that empower rather than disempower women. The empowering characteristics of beautification, however, are difficult and perhaps impossible to represent in a sexist context; therefore, while beautifying may be a positive experience for women, being viewed as a beautified object in current Western society is almost always opposed to women's equality (...)
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  21. added 2018-12-07
    Kant on Beauty and the Normative Force of Feeling.Arata Hamawaki - 2006 - Philosophical Topics 34 (1/2):107-144.
  22. added 2018-11-28
    Against Value Empiricism in Aesthetics.James Shelley - 2010 - Australasian Journal of Philosophy 88 (4):707-720.
    Value empiricists in aesthetics claim that we can explain the value of artworks by appeal to the value of the experiences they afford. I raise the question of the value of those experiences. I argue that while there are many values that such experiences might have, none is adequate to explaining the value of the works that afford the experiences. I then turn to defending the alternative to value empiricism, which I dub the object theory . I argue that if (...)
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  23. added 2018-11-27
    Imagining the Truth: An Account of Tragic Pleasure.James Shelley - 2003 - In Matthew Kieran & Dominic McIver Lopes (eds.), Imagination, Philosophy, and the Arts. London and New York: pp. 177-185.
    The problem of tragedy is the problem of explaining why tragedy gives us the pleasure that it does, given that it has the content that it has. I propose a series of constraints that any adequate solution to the problem must satisfy. Then I develop a solution to the problem that satisfies those constraints. But I do not claim that the solution I develop uniquely satisfies the constraints I propose. I aim merely to narrow the field of contending solutions, and (...)
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  24. added 2018-09-27
    The Default Theory of Aesthetic Value.James Shelley - 2019 - British Journal of Aesthetics 59 (1):1-12.
    The default theory of aesthetic value combines hedonism about aesthetic value with strict perceptual formalism about aesthetic value, holding the aesthetic value of an object to be the value it has in virtue of the pleasure it gives strictly in virtue of its perceptual properties. A standard theory of aesthetic value is any theory of aesthetic value that takes the default theory as its theoretical point of departure. This paper argues that standard theories fail because they theorize from the default (...)
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  25. added 2018-09-24
    Art, Pleasure, Value: Reframing the Questions.Mohan Matthen - 2018 - Philosophic Exchange 47 (1).
    In this essay, I’ll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a “feeling” or “sensation” that results from engaging with a work (...)
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  26. added 2018-08-06
    Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability.Jennifer A. McMahon (ed.) - 2018 - New York, USA: Routledge.
    This edited collection sets forth a new understanding of aesthetic-moral judgment organised around three key concepts: pleasure, reflection, and accountability. The overarching theme is that art is not merely a representation or expression like any other, but that it promotes shared moral understanding and helps us engage in meaning-making. This volume offers an alternative to brain-centric and realist approaches to aesthetics. It features original essays from a number of leading philosophers of art, aesthetics, ethics, and perception, including Elizabeth Burns Coleman, (...)
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  27. added 2018-08-06
    The Relation Between Sensory Perception,Perfection and Pleasure with Beauty in Christian Wolff’s Aesthetics.Davoud Mirzaei, Ali Salmani & Reza Mahoozi - 2018 - Journal of Philosophical Theological Research 20 (75):72-92.
    Christian Wolff’s view regarding sensory perception – which is formed on a Leibnizian framework – forms the base of his aesthetics. He explains the concept of perfection and pleasure according to the clear but disordered essence of sensory perception that is present in this framework and through this very path guides towards the definition of beauty. Thus, according to him, perfection is the consistency or accordance of diversity or the abundance of things or their parts; pleasure is the result of (...)
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  28. added 2018-08-03
    Aesthetic Comprehension of Abstract and Emotion Concepts: Kant’s Aesthetics Renewed.Mojca Kuplen - 2018 - Itinera 15:39-56.
    In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more accessible to us, (...)
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  29. added 2018-08-01
    James Warren, “The Pleasures of Reason in Plato, Aristotle, and the Hellenistic Hedonists.” Review by Facundo Bey. [REVIEW]Facundo Bey - 2016 - Boletín de Estética 36:71-76.
    The Pleasures of Reason in Plato, Aristotle, and the Hellenistic Hedonists se centra en la relación mutua entre las capacidades humanas de sentir placer y dolor y el carácter afectivo que las une con las facultades cognitivas de aprender, comprender, recordar, evocar, planificar y anticiparse. Para esto, Warren consagra toda su agudeza analítica a eminentes obras del pensamiento antiguo: particularmente nos referimos a los diálogos platónicos República, Protágoras y Filebo. Otro tanto hace con De Anima, De Memoria et Reminiscentia, Ética (...)
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  30. added 2018-06-30
    Beauty, Art and the Western Tradition.Derek Allan - manuscript
    From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature and function of (...)
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  31. added 2018-05-26
    Kant on Informed Pure Judgments of Taste.Emine Hande Tuna - 2018 - Journal of Aesthetics and Art Criticism 76 (2):163-174.
    Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's works of genius do not fall (...)
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  32. added 2018-05-01
    Consciousness.Anezka Kuzmicova - forthcoming - In Leah Price & Matthew Rubery (eds.), Further Reading. New York: Oxford University Press.
    This chapter revisits three common ideas about how consciousness works when we read fiction. Firstly, I contest the notion that the reading consciousness is a container of sorts, containing a circumscribed amount of textual stimulus. Secondly, I argue against the view that readers abstract their personal concerns away in reading, and that they do so with benefit. Thirdly, I show how the reading consciousness encompasses rather than excludes the physical situation and environment of reading. For each idea revisited, I discuss (...)
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  33. added 2018-05-01
    Utitz, Emil. Die Funktionsfreuden Im Ästhetischen Verhalten. [REVIEW]Hugo Bergmann - 1911 - Kant-Studien 16 (1-3):325.
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  34. added 2018-03-08
    The Enjoyment of Negative Emotions in the Experience of Magic.Jason Leddington - 2017 - Behavioral and Brain Sciences 40.
    Theatrical magic is designed to elicit negative emotions such as feelings of vulnerability, loss of control, apprehension, fear, confusion, and bafflement. This commentary suggests that the DISTANCE-EMBRACING model proposed by Menninghaus et al. can help us to understand how the experience of magic can be aesthetically pleasurable, not despite, rather thanks to, some of the strong negative emotions it provokes.
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  35. added 2018-02-26
    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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  36. added 2018-02-26
    Constituents of Music and Visual-Art Related Pleasure – A Critical Integrative Literature Review.Marianne Tiihonen, Elvira Brattico, Johanna Maksimainen, Jan Wikgren & Suvi Saarikallio - 2017 - Frontiers in Psychology 8.
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  37. added 2018-02-26
    Commentary: Aesthetic Pleasure Versus Aesthetic Interest: The Two Routes to Aesthetic Liking.Consoli Gianluca - 2017 - Frontiers in Psychology 8.
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  38. added 2018-02-26
    Aesthetic Relationship, Cognition, and the Pleasures of Art.Jean-Marie Schaeffer - 2015 - In Frederik Stjernfelt & Peer F. Bundgaard (eds.), Investigations Into the Phenomenology and the Ontology of the Work of Art. Springer Verlag.
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  39. added 2018-02-17
    Only a Promise of Happiness: The Place of Beauty in a World of Art.Alexander Nehamas - 2007 - Princeton University Press.
    Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, (...)
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  40. added 2018-02-16
    The Pleasures of Aesthetics: Philosophical Essays. [REVIEW]Eric Dayton - 1999 - Dialogue 38 (1):214-214.
    This welcome new volume of essays in æsthetics represents work by Jerrold Levinson since the publication of his 1990 collection Music, Art & Metaphysics, and is thus a sequel to it, developing many of the themes first expressed in that book. It also stands on its own; Levinson's work is uniformly lucid and his essays characteristically canvas in detail, and then respond critically to, recent work in analytic æsthetics. As a result, this collection introduces the reader not only to Levinson's (...)
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  41. added 2018-02-02
    Ownerless Emotions in Rasa-Aesthetics.Arindam Chakrabarti - 2011 - In Ken-Ichi Sasaki (ed.), Asian Aesthetics. National Univeristy of Singapore Press.
  42. added 2018-02-02
    Samvega, ‘Aesthetic Shock’.Ananda K. Coomaraswamy - 1943 - Harvard Journal of Asiatic Studies 7 (3):174-179.
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  43. added 2018-01-29
    Kierkegaard: Ethical Marriage or Aesthetic Pleasure?Patrick Bourgeois - 1976 - The Personalist (4):370-375.
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  44. added 2018-01-22
    Review of Henry Rutgers Marshall, Pain, pleasure and æsthetics. [REVIEW]F. Pillon - 1896 - Revue Philosophique de la France Et de l'Etranger 42:437-442.
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  45. added 2018-01-08
    Review of Marshall, Pain, Pleasure, and Aesthetics. [REVIEW][author unknown] - 1893 - Ancient Philosophy (Misc) 4:630.
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  46. added 2017-12-04
    Back to Truth: Knowledge and Pleasure in the Aesthetics of Schopenhauer.Guyer Paul - 2008 - European Journal of Philosophy 16 (2):164-178.
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  47. added 2017-11-27
    From Kantianism to Aesthetic Hedonism: Aesthetic Pleasure Revised.Jennifer A. McMahon - 2017 - Australasian Philosophical Review 1 (1):1-5.
    No matter how unintuitive it might seem that aesthetic pleasure should be the point where art and morality meet, this is a noteworthy possibility that has been overshadowed by aestheticians’ more visible concerns. Here I briefly survey relevant strands in the literature over the past century, before introducing themes covered in this inaugural issue of Australasian Philosophical Review.
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  48. added 2017-11-27
    Pleasure, Tragedy and Aristotelian Psychology.Elizabeth Belfiore - 1985 - Classical Quarterly 35 (2):349-361.
    Aristotle's Rhetoric defines fear as a kind of pain or disturbance and pity as a kind of pain. In his Poetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’. The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in connection with catharsis. Catharsis, however, raises more problems than it solves. Aristotle says nothing at all about the (...)
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  49. added 2017-11-01
    Aesthetic Rationality.Keren Gorodeisky & Eric Marcus - 2018 - Journal of Philosophy 115 (3):113-140.
    We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...)
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  50. added 2017-03-06
    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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1 — 50 / 269