Aesthetic Qualities

Edited by Robert R. Clewis (Gwynedd Mercy University, Ludwig Maximilians Universität, München)
Related categories
Subcategories:
Beauty (104)
Humour* (708)
Style (41)
The Sublime (184)
The Tragic (26)

514 found
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1 — 50 / 514
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  1. Aproximación teórica a la especificidad de los valores estéticos.José Ramón Fabelo Corzo - 2004 - Graffylia 4 (4):17-25.
    El artículo busca acercarse a la comprensión de los rasgos particulares de los valores estéticos, fundamentalmente en las obras de arte. Para ello parte de la premisa de que el valor estético no es en sí mismo un atributo del objeto artístico, ni el resultado exclusivo de la plasmación en él de cierto ideal estético. Para que un objeto sea portador de valor estético ha de funcionar precisamente como tal, lo cual presupone la presencia y participación de otros sujetos que (...)
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  2. Entre dos tempestades. Boal dialoga con Shakespeare.José Ramón Fabelo Corzo & Ana Lucero López Troncoso - 2016 - In José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.), Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Puebla, Pue., México: pp. 285-299.
    Los autores realizan un análisis comparativo entre The Tempest de Willian Shakespeare y La Tempestad de Augusto Boal, siguiendo la pauta de este último autor, quien ve en su obra no la adaptación de la del clásico dramaturgo inglés, sino la respuesta a aquella desde la perspectiva de Caliban y no de Próspero.
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  3. The Arts of Action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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Aesthetic Qualities, Misc
  1. Can Food Be Art In Virtue of Its Savour Alone?Mohan Matthen - forthcoming - Critica.
    Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a larger (...)
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  2. Vergegenwärtigung von Erfahrungen, Perspektivenübernahme und Empathie.Íngrid Vendrell-Ferran - 2018 - In Susanne Schmetkamp & Magdalena Zorn (eds.), Variationen des Mitfühlens. Empathie in Musik, Literatur, Film und Sprache. Mainz, Stuttgart: Franz Steiner Verlag.
    Der Aufsatz ist in zwei Teile gegliedert. Im ersten Teil unterscheide ich das Phänomen der Empathie von ähnlichen Phänomenen. Im zweiten Teil werde ich auf die Bedingungen für Empathie eingehen. In diesem Teil geht es mir darum zu zeigen, dass wir es trotz einiger Unterschiede zwischen Empathie für Mitmenschen und Empathie für Figuren mit demselben Phänomen zu tun haben.
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  3. Originalism and Anti-Originalism: Style and Authenticity in Aesthetic Appreciation.Lisa Giombini - 2020 - Debates in Aesthetics 15 (1):52-73.
    Since the mid-Sixties, philosophers have debated over the aesthetic relevance of authentic art-objects, perfect replicas, and restoration. In particular, a dispute has ensued concerning the cogency of our penchant for original artworks. Originalists argue that authenticity, the quality of an object being of undisputed origin or authorship, is a necessary condition for aesthetic experience, since the appreciation of an artwork presupposes its correct identification. Anti-originalists retort that we have no art-relevant reason to favour originals over visually-indistinguishable duplicates. To this extent, (...)
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  4. 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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  5. The Aesthetic Experience of Artwork.Mika Suojanen - 2014 - In Kaisa Koivisto, Jani Kukkola, Timo Latomaa & Pirkko Sandelin (eds.), Experience Research IV. Rovaniemi: Lapland University Press. pp. 57–72.
    What is beautiful or ugly vary from one person another, from time to time and from culture to culture. However, at the same time, people are certain that there are aesthetic properties in the nature, artworks and other persons and, furthermore, they can be perceived by the naked eye. This article argues that experience does not reveal the aesthetic properties of the objects.
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  6. Can Literature Be Moral Philosophy? A Sceptical View on the Ethics of Literary Empathy.Ingrid Vendrell Ferran - 2011 - In Sebastian Hüsch (ed.), Philosophy and Literature and the Crisis of Metaphysics.
    One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy for fictional (...)
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  7. Aesthetic Properties: Context Dependent and Perceptual.Kendall L. Walton - 2020 - Journal of Aesthetics and Art Criticism 78 (1):79-84.
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  8. Pleasure and Transcendence: Two Paradoxes of Sublimity.Tom Hanauer - 2018 - In Lars Aagaard-Mogensen (ed.), The Possibility of the Sublime: Aesthetic Exchanges. Newcastle, UK: Cambridge Scholars Publishing. pp. 29-44.
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  9. New Television: The Aesthetics and Politics of a Genre.Martin Shuster - 2019 - University of Chicago Press.
    Even though it’s frequently asserted that we are living in a golden age of scripted television, television as a medium is still not taken seriously as an artistic art form, nor has the stigma of television as “chewing gum for the mind” really disappeared. -/- Philosopher Martin Shuster argues that television is the modern art form, full of promise and urgency, and in New Television, he offers a strong philosophical justification for its importance. Through careful analysis of shows including The (...)
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  10. Beauty. New Essays in Aesthetics and the Philosophy of Art.Wolfgang Huemer & Íngrid Vendrell Ferran (eds.) - 2019 - München, Deutschland: Philosophia.
    The notion of beauty has been and continues to be one of the main concerns of aesthetics and art theory. Traditionally, the centrality of beauty in the experience of art was widely accepted and beauty was considered one of the key values in aesthetics. In recent debate, however, the significance of the notion of beauty has been discussed controversially. Especially in the second half of the twentieth century, the role of beauty was strongly challenged both by artists and in philosophy (...)
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  11. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  12. Kitsch: The World of Bad Taste.Gillo Dorfles & John McHale (eds.) - 1969 - New York: Bell Publishing.
    Gillo Dorfles offers a veritable "catalogue raisonne of reigning bad taste" in the visual arts. His purpose is not simply to entertain but rather to demonstrate the contagious and corrosive nature of a phenomenon that threatens to debilitate the creative energies of the very society that spawned it. He and the other contributors examine the use of kitsch in politics, religion, advertising, film, architecture and design, "pornokitsch," and the modern trappings that surround birth, family life and death. To document the (...)
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  13. Notes on Traditional Kitsch.Aleksa Ĉelebonović - 1969 - In Gillo Dorfles (ed.), Kitsch: The World of Bad Taste. New York: Bell Publishing. pp. 280-289.
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  14. Contemporary Kitsch: The Death of Pseudo-Art and the Birth of Everyday Cheesiness (A Postcolonial Inquiry).Max Ryynänen - 2018 - Terra Aestheticae: Journal of Russian Society for Aesthetics 1 (1):70-86.
    The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...)
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  15. 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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  16. On "Aesthetics as Philosophy of Perception".Nicholas Silins - 2019 - Studi di Estetica:227-233.
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  17. Nietzsche (as) Educator.Babette Babich - 2018 - Educational Philosophy and Theory 51 (9):871-885.
  18. Einführung in die philosophische Ästhetik.Maria Elisabeth Reicher - 2015 - Darmstadt: Wissenschaftliche Buchgesellschaft.
    Dieses Buch ist eine bewusst systematisch orientierte Einführung in die grundlegendsten Fragen der philosophischen Ästhetik. Es richtet sich in erster Linie an Studierende der Philosophie, aber auch an interessierte Laien und Vertreter/innen anderer Disziplinen. Zusammenfassungen, Übungsaufgaben und Literaturhinweise am Ende jedes Kapitels machen es auch für das Selbststudium geeignet. Aus dem Inhalt: I. Was ist philosophische Ästhetik? – Auf der Suche nach einer Definition der philosophischen Ästhetik – Die Gegenstände der philosophischen Ästhetik – Die Fragen der philosophischen Ästhetik – Die (...)
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  19. Impressions Of Reflection And The End Of Art: A Re-Evaluation Of Hume’s Standard Of Taste.Gary Jaeger - 2004 - Postgraduate Journal of Aesthetics 1 (1):25-31.
    In his 'Of the Standard of Taste' David Hume seems to make the paradoxical claim that even though the sentiments an agent feels in response to an artwork are subjective and unique, and it cannot be said that such sentiments are either correct or incorrect, there is a standard upon which art can be judged, which is at least partly determined by these sentiments.
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  20. What is the Uncanny?Mark Windsor - 2019 - British Journal of Aesthetics 59 (1):51-65.
    I propose a definition of the uncanny: an anxious uncertainty about what is real caused by an apparent impossibility. First, I outline the relevance of the uncanny to art and aesthetics. Second, I disambiguate theoretical uses of ‘uncanny’ and establish the sense of the term that I am interested in—namely, an emotional state directed towards particular objects in the world which are characteristically eerie, creepy, and weird. Third, I look at Edgar Allan Poe’s ‘The Fall of the House of Usher’ (...)
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  21. Independência: libertação da arte na dimensão estética de Herbert Marcuse.Jair Soares - 2018 - Revista Diaphonía.
    Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...)
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  22. Aesthetic Properties, History and Perception.Sonia Sedivy - 2018 - British Journal of Aesthetics 58 (4):345-362.
    If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...)
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  23. Go Bleep Yourself!: Why Censorship is Funny.Robert T. Valgenti - 2016 - Angelaki 21 (3):103-114.
    This essay argues that the use of the censor's bleep for comedic effect in cases when an actual expletive is not present can contribute not only to our understanding of traditional theories of humor but also uncover a deep connection between censorship, humor, and human speech. The essay begins with a description of the phenomenon of “unnecessary censorship” within the context of prime-time television and the growing use of profane and indecent language. To understand why unnecessary censorship works as a (...)
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  24. A Timeless Sublime?: Reading the Feminine Sublime in the Discourse of the Sacred.Patrick Wright - 2010 - Angelaki 15 (2):85-100.
  25. The Sublime Reader.Robert R. Clewis (ed.) - 2019 - London: Bloomsbury.
    The first English-language anthology to provide a compendium of primary source material on the sublime. The book takes a chronological approach, covering the earliest ancient traditions up through the early and late modern periods and into contemporary theory. It takes an inclusive, interdisciplinary approach to this key concept in aesthetics and criticism, representing voices and traditions that have often been overlooked. As such, it will be of use and interest across the humanities and allied disciplines.
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  26. Josef Albers, "So ist Kunst ... Erlebnis", Weimarer Verlagsgesellschaft: Wiesbaden 2018.Martina Sauer - 2018 - Wiesbaden, Germany: Weimarer Verlagsgesellschaft.
    This is the first coherent monography about the life and work of the important Bauhaus master Josef Albers. It aims to discover Albers as a teacher and an artist anew. Thus, 40 years after his death an artist shall be honored, who has had till now not enough attention within the Bauhaus masters. It fall too short to introduce him solely as the teacher and idea provider of the basic course at the Bauhaus. After his emigration to the US he (...)
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  27. Do Gestalt Effects Show That We Perceive High-Level Aesthetic Properties?Raamy Majeed - 2018 - Analysis 78 (3):440-450.
    Whether we perceive high-level properties is presently a source of controversy. A promising test case for whether we do is aesthetic perception. Aesthetic properties are distinct from low-level properties, like shape and colour. Moreover, some of them, e.g. being serene and being handsome, are properties we appear to perceive. Aesthetic perception also shares a similarity with gestalt effects, e.g. seeing-as, in that aesthetic properties, like gestalt phenomena, appear to ‘emerge’ from low-level properties. Gestalts effects, of course, are widely observed, which (...)
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  28. Restorative Aesthetic Pleasures and the Restoration of Pleasure.Ryan Paul Doran - 2017 - Australasian Philosophical Review 1 (1):73-78.
    ABSTRACT: I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis aesthetic pleasure.
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  29. Empirical Aesthetics.William Seeley - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics (2 ed.). New York, NY, USA: Oxford University Press.
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  30. ‘Nothing but Nonsense’: A Kantian Account of Ugliness.Matthew Coate - 2018 - British Journal of Aesthetics 58 (1):51-70.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comWhat does it mean for a thing to be ugly, or perhaps better, for something to be judged as such? We should admit that the matter is not transparent. Maybe that seems odd, since we find things ugly all the time; should not this be plain as day, then? But usually, it is what seems (...)
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  31. Aesthetic Properties as Powers.Vid Simoniti - 2017 - European Journal of Philosophy 25 (4):1434-1453.
    Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about secondary properties such as colours. By contrast, I advance a novel realist position about aesthetic properties, which is based on a disanalogy between aesthetic properties and colours. Whereas colours are usually perceived as relatively steady features of external objects, aesthetic properties are perceived as unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this (...)
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  32. Some Ways to Speculative Aesthetics.Tom Sparrow - 2017 - Philosophy Today 61 (3):523-38.
    Continental philosophy is witnessing a global renaissance of speculative philosophy. And while some corners of this movement are gaining traction in art- and architecture-theoretical circles, its application to philosophical aesthetics has been forestalled in favor of metaphysical and, secondarily, epistemological inquiry. This essay tracks some of the ways that speculative aesthetics is emerging, and opening new pathways, within the renaissance. It accomplishes three primary tasks. First, it enumerates several of the ways that the name “speculative aesthetics” has been mobilized in (...)
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  33. A Kantian Analytic of the Ugly.Christopher Buckman - 2017 - International Philosophical Quarterly 57 (4):365-380.
    Kant’s theory of taste, as expounded in the Critique of Judgment, deals exhaustively with judgments of beauty. Rarely does Kant mention ugliness. This omission has led to a debate among commentators about how judgments of ugliness should be explained in a Kantian framework. I argue that the judgment of ugliness originates in the disharmonious play between the faculties of imagination and understanding. Such disharmony occurs when the understanding finds that it cannot in principle form any concept suitable to a representation (...)
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  34. The Virtue of Subtlety and the Vice of a Heavy Hand.Alex King - 2017 - British Journal of Aesthetics 57 (2):119-137.
    Subtlety is a concept as deeply intertwined with aesthetic judgements as virtually any other. But it is not clear what makes subtlety a good property of an artwork, or indeed if it is one. In this paper, I explore this under-discussed issue. First, I spend some time setting out hallmarks of subtlety and discussing different ways in which subtlety might be valuable. I then go on to defend a particular view about why subtlety is aesthetically valuable, by thinking through why (...)
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  35. The Aesthetic Potential of the Element of Earth.Marzenna Jakubczak - 2002 - Analecta Husserliana:253-263.
  36. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  37. Review of Patina: A Profane Archaeology, by Shannon Lee Dawdy. [REVIEW]Erich Hatala Matthes - 2018 - Journal of Aesthetics and Art Criticism 76 (2):249-252.
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  38. Smile of the Buddha: Eastern Philosophy and Western Art From Monet to Today.Sally Markowitz - 2007 - Journal of Aesthetics and Art Criticism 65 (2):248-250.
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  39. Butler's Humour of Homer. [REVIEW]George C. W. Warr - 1892 - The Classical Review 6 (9):398-399.
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  40. Greek Laughter: A Study of Cultural Psychology From Homer to Early Christianity.Charles Platter - 2010 - American Journal of Philology 131 (3):529-532.
    In 1991, Stephen Halliwell published "The Uses of Laughter in Greek Culture", an essay that, among other things, rejected totalizing definitions of laughter and the laughable in favor of a more nuanced view that emphasized a distinction between laughter perceived as friendly and non-consequential, i.e., not injurious to the reputation of anyone, and laughter seen as abusive, hostile, or belittling, and so deleterious to the reputation of the target. His point was not that laughter could be classified so easily but (...)
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  41. A Kantian Hybrid Theory of Art Criticism: A Particularist Appeal to the Generalists.Emine Hande Tuna - 2016 - Journal of Aesthetics and Art Criticism 74 (4):397-411.
    Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...)
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  42. Plato and the Spectacle of Laughter.Michael Naas - 2016 - Angelaki 21 (3):13-26.
    This essay examines the critical role played by comedy and laughter in Plato. It begins by taking seriously Plato's critique of comedy and his concerns about the negative effects of laughter in dialogues such as Republic and Laws. It then shows how Plato, rather than simply rejecting comedy and censuring laughter, attempts to put these into the service of philosophy by rethinking them in philosophical terms. Accordingly, the laughable or the ridiculous is understood not just in relation to the ugly (...)
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  43. Musical Works and Performance Evaluation.António Lopes - 2005 - Postgraduate Journal of Aesthetics 2 (2):76-86.
    This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features of (...)
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  44. Laughter: An Essay on the Meaning of the ComicHenri Bergson.Richard Smith - 1913 - International Journal of Ethics 23 (2):216-218.
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  45. Aesthetics of the Sublime and Moral Education.Youngdon Youn - 2016 - Journal of Ethics 1 (108):31-49.
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  46. Proverbs, Sententiae, and Exempla in Chaucer's Comic Tales: The Function of Comic Misapplication.Donald Macdonald - 1966 - Speculum 41 (3):453-465.
    Chaucer's comic tales contain, both in the speeches of the characters and in the form of comments by the various narrators, a substantial number of proverbs, sententiae, and exempla. The frequency with which these monitory elements occur, the fact that they appear to be almost entirely Chaucer's original contributions to the tales, and the importance of their function in comic characterization, in narrative structure, and in the control of narrative tone combine to suggest that they were employed by Chaucer with (...)
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  47. The Language of Laughter.Mary Eloise Ragland - 1976 - Substance 5 (13):91.
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