This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related categories

239 found
Order:
1 — 50 / 239
  1. The Sublime Pleasures of Tragedy: A Study of Critical Theory From Dennis to Keats.William Price Albrecht - 1975 - University Press of Kansas.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  2. A Cognitive Interpretation of Aristotle’s Concepts of Catharsis and Tragic Pleasure.Mahesh Ananth - 2014 - International Journal of Art and Art History 2 (2).
    Jonathan Lear argues that the established purgation, purification, and cognitive stimulation interpretations of Aristotle’s concepts of catharsis and tragic pleasure are off the mark. In response, Lear defends an anti-cognitivist account, arguing that it is the pleasure associated with imaginatively “living life to the full” and yet hazarding nothing of importance that captures Aristotle’s understanding of catharsis and tragic pleasure. This analysis reveals that Aristotle’s account of imagination in conjunction with his understanding of both specific intellectual virtues and rational emotions (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  3. Review of Eva Schaper, Pleasure, Preference and Value. [REVIEW]Douglas Anderson - 1986 - Idealistic Studies 16 (2):186-187.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  4. The Secret Power of Beauty.John Armstrong - 2004 - Allen Lane.
    A graceful and lucid study of the power of beauty and the deep significance it has in our lives In defining beauty and our response to it, we are often caught between the concrete and the sublime. We wish to categorize beauty, to clearly label its parts, and yet we wish also to celebrate its mysterious-and at times mythical-power. Armstrong's response is a discursive and graceful journey through various and complementary interpretations, leading us from Hogarth's belief that the essence of (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography   2 citations  
  5. From Pleasure to Contemplation.Rudolf Arnheim - 1993 - Journal of Aesthetics and Art Criticism 51 (2):195-197.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  6. Beauty Defined.Archie J. Bahm - 1947 - Philosophical Review 56 (5):582-586.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  7. The Paradox of Horror: Fear as a Positive Emotion.Katerina Bantinaki - 2012 - Journal of Aesthetics and Art Criticism 70 (4):2012.
  8. Erotic Pathos, Rhetorical Pleasure: Narrative Technique and Mimesis in Eumathios Makrembolites' "Hysmine & Hysminias"Ingela Nilsson.Roderick Beaton - 2004 - Speculum 79 (3):811-813.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  9. Der Letzte Advent. By Edzard Schaper.Leo A. Behrendt - 1951 - Renascence 4 (1):67-68.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  10. Pleasure, Tragedy and Aristotelian Psychology.Elizabeth Belfiore - 1985 - Classical Quarterly 35 (02):349-.
    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 (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  11. Economy of Expression and Aesthetic Pleasure.Ermanno Bencivenga - 1987 - Philosophy and Phenomenological Research 47 (4):615-630.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  12. Aesthetic Pleasure: Cognition and Emotion in the Aesthetic Concepts. Remarks After Sibley’s Works.Giulia Bonasio - 2014 - Rivista di Estetica 55:183-201.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  13. Aesthetic Aristotelic Project: Between Art and Pleasure.Magdalena Bosch - 2011 - Convivium 24:43-57.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  14. On Susan Wolf’s “Good-for-Nothings".Ben Bramble - 2015 - Ethical Theory and Moral Practice 18 (5):1071-1081.
    According to welfarism about value, something is good simpliciter just in case it is good for some being or beings. In her recent Presidential Address to the American Philosophical Association, “Good-For-Nothings”, Susan Wolf argues against welfarism by appeal to great works of art, literature, music, and philosophy. Wolf provides three main arguments against this view, which I call The Superfluity Argument, The Explanation of Benefit Argument, and The Welfarist’s Mistake. In this paper, I reconstruct these arguments and explain where, in (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  15. WEISINGER, Tragedy and the Paradox of the Fortunate Fall. [REVIEW]S. G. F. Brandon - 1952 - Hibbert Journal 51:407.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  16. Rethinking Decoration: Pleasure and Ideology in the Visual Arts.David Brett - 2005 - Cambridge University Press.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  17. Pleasure and the Arts: Enjoying Literature, Painting, and Music.Christopher Butler - 2004 - Oxford University Press.
    How do the arts give us pleasure? Covering a very wide range of artistic works, from Auden to David Lynch, Rembrandt to Edward Weston, and Richard Strauss to Keith Jarrett, Pleasure and the Arts offers us an explanation of our enjoyable emotional engagements with literature, music, and painting. The arts direct us to intimate and particularized relationships, with the people represented in the works, or with those we imagine produced them. When we listen to music, look at a purely abstract (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   2 citations  
  18. 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, inter-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 (...)
    Remove from this list   Direct download (9 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  19. "The Forger's Art: Forgery and the Philosophy of Art": Edited by Denis Dutton. [REVIEW]David Carrier - 1984 - British Journal of Aesthetics 24 (4):371.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  20. Mary Mothersill on Aesthetic Pleasure.William Charlton - 1988 - Analysis 48 (1):40 - 44.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    My bibliography  
  21. Piękno I Ewolucja [Denis Dutton, The Art Instinct, Bloomsbury Press, New York 2009, Ss. 278].Adam Chmielewski - 2009 - Studia Philosophica Wratislaviensia:180-184.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  22. On The Ambiguous Status of Pleasure in Bentham's Theory of Fictions.Jean-Pierre Cléro - 2014 - Utilitas 26 (4):346-366.
    If pleasure is more open than pain to a double definition, first as a real sensation, second as a more indirect impression, it is clear that the calculus cannot be identical for pleasure and pain alike. Sensations may be combined in the infinitesimal calculus in a substantive way, but this is impossible for the more indirect reflective impressions, which require other sorts of mathematics. For Bentham, it is not a question of eschewing calculation, but of facilitating it, perhaps through a (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  23. Is Aesthetic Pleasure a Myth?Francis J. Coleman - 1971 - Journal of Aesthetics and Art Criticism 29 (3):319-332.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  24. Erotic Pathos, Rhetorical Pleasure. Narrative Technique and Mimesis in Eumathios Makrembolites' Hysmine & Hysminias. [REVIEW]Fabrizio Conca - 2003 - Byzantinische Zeitschrift 95 (2):708-710.
    Remove from this list  
    Translate
      Direct download  
     
    Export citation  
     
    My bibliography  
  25. I. NILSSON, Erotic Pathos, Rhetorical Pleasure. Narrative Technique and Mimesis in Eumathios Makrembolites' Hysmine & Hysminias.Fabrizio Conca - 2003 - Byzantinische Zeitschrift 95 (2).
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  26. Aesthetics, Pleasure and Value.Steven Connor - 1992 - In Stephen Regan (ed.), The Politics of Pleasure: Aesthetics and Cultural Theory. Open University Press. pp. 203--20.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  27. Complex Pleasure: Forms of Feeling in German Literature.Stanley Corngold - 1998 - Stanford University Press.
    Complex Pleasure deals with questions of literary feeling in eight major German writers—Lessing, Kant, Hölderlin, Nietzsche, Musil, Kafka, Trakl, and Benjamin. On the basis of close readings of these authors Stanley Corngold makes vivid the following ideas: that where there is literature there is complex pleasure; that this pleasure is complex because it involves the impression of a disclosure; that this thought is foremost in the minds of a number of canonical writers; that important literary works in the German tradition—fiction, (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  28. The Pleasures of Tragedy.E. M. Dadlez - 2013 - In James A. Harris (ed.), The Oxford Handbook of British Philosophy in the Eighteenth Century. Oxford University Press. pp. 450.
    There is a resurgence of Aristotelian concerns in philosophical approaches to tragedy in the eighteenth century. The philosophical literature of the period is rife with proposed solutions to the problem of the delightfulness of imitations of undelightful things and to the more specific problem of tragic pleasure. The latter include attempts to identify different objects of our pleasure and uneasiness as well as distinct attempts to explain how it is that pleasure can depend on such uneasiness. These areas of concern (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  29. Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure.Eva M. Dadlez - 2004 - Hume Studies 30 (2):213-236.
  30. The Gay Science.E. S. Dallas - 1969 - Johnson Reprint Corporation.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  31. Instinct Et Servitude.Félix Le Dantec - 1903 - Revue Philosophique de la France Et de l'Etranger 55:233 - 251.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  32. The Pleasures of Aesthetics.Eric Dayton - 1999 - Dialogue 38 (1):214-214.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  33. The Pleasures of Aesthetics: Philosophical Essays Jerrold Levinson Ithaca, NY: Cornell University Press, 1996, Xiv + 312 Pp. [REVIEW]Eric Dayton - 1999 - Dialogue 38 (01):214-.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  34. Beauty.Rafael De Clercq - 2013 - In Berys Gaut Gaut & Dominic Lopes (eds.), Routledge Companion to Aesthetics 3rd Edition. Routledge.
    This survey chapter focuses on two questions concerning the nature of beauty. First, can “beauty” be defined, and if so, how? Second, what is the relation between beauty and the mind; for example, between being beautiful and being judged beautiful, or between being beautiful and being the object of pleasure?
    Remove from this list  
    Translate
     
     
    Export citation  
     
    My bibliography  
  35. Eva Schaper (1924–1992).T. J. Diffey - 1993 - British Journal of Aesthetics 33 (1):1-4.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  36. Review of Pleasure, Preference, and Value: Studies in Philosophical Aesthetics. [REVIEW]T. J. Diffley - 1984 - Journal of Aesthetics and Art Criticism 43 (1):96-98.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  37. Chimera, Spandrel, or Adaptation.Ellen Dissanayake - 1995 - Human Nature 6 (2):99-117.
    In every known human society, some kind—usually many kinds—of art is practiced, frequently with much vigor and pleasure, so that one could at least hypothesize that “artifying” or “artification” is a characteristic behavior of our species. Yet human ethologists and sociobiologists have been conspicuously unforthcoming about this observably widespread and valued practice, for a number of stated and unstated reasons. The present essay is a position paper that offers an overview and analysis of conceptual issues and problems inherent in viewing (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  38. Pleasure, Preference and Value: Studies in Philosophical Aesthetics.Terence Dolan - 1987 - National University of Ireland.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  39. The Where and Why of Beauty's Pleasure.Francis P. Donnelly - 1930 - Thought: A Journal of Philosophy 5 (2):261-271.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  40. The Nature of Aesthetic Experiences.Fabian Dorsch - 2000 - Dissertation, University College London
    This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  41. Individualism for the Masses: Aesthetic Paradox in Mahler’s Symphonic Thought.Andreas Dorschel - 2011 - In Elisabeth Kappel (ed.), The Total Work of Art: Mahler’s Eighth Symphony in Context. Universal Edition. pp. 46-60.
    In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  42. Vom Genießen. Reflexionen zu Richard Strauss.Andreas Dorschel - 2004 - In Gemurmel unterhalb des Rauschens. Theodor W. Adorno und Richard Strauss. Universal Edition. pp. 23-37.
    The work of Richard Strauss has been disparaged as a music designed to be relished (“Genußmusik” was Adorno’s term), lacking any dimension of ‘transcendence’. The notion of ‘relish’ or ‘pleasure’ (“Genuß”), used for characterization rather than disparagement, can disclose crucial aspects of Strauss’s art, though it does not exhaust it. To oppose ‘relish’ or ‘pleasure’ (“Genuß”) to ‘transcendence’, however, either uses hidden theological premises or disregards that ‘relish’ or ‘pleasure’ (“Genuß”), bound to be pervious to its object, does transcend towards (...)
    Remove from this list  
    Translate
      Direct download  
     
    Export citation  
     
    My bibliography  
  43. The Tragedy and Comedy of Life.Kenneth Dorter - 1994 - Review of Metaphysics 47 (4):799-801.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  44. The Politics of Aesthetic Pleasure.D. C. Durst - 1997 - Philosophical Inquiry 19 (1-2):18-34.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  45. The Art Instinct: Beauty, Pleasure, and Human Evolution.Denis Dutton - 2010 - Oxford University Press.
    The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography   2 citations  
  46. The Art Instinct: Beauty, Pleasure, & Human Evolution.Denis Dutton - 2009 - Bloomsbury Press.
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography   18 citations  
  47. The Art Instinct: Beauty, Pleasure, and Human Evolution.Denis Dutton - 2009 - Oxford University Press.
    The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  48. The Pleasures of Fiction.Denis Dutton - 2004 - Philosophy and Literature 28 (2):453-466.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  49. Aesthetic Pleasure and Pain.Marcia Muelder Eaton - 1973 - Journal of Aesthetics and Art Criticism 31 (4):481-485.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  50. The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment.C. E. Emmer - 2001 - In Volker Gerhardt, Rolf Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung: Akten des IX. Internationalen Kant-Kongresses, Vol. 3. Walter de Gruyter. pp. 512-519.
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
1 — 50 / 239