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

42 found
Order:
  1. added 2019-06-06
    Metaphor and Criticism BSA Prize Essay, 2010: Articles.James Grant - 2011 - British Journal of Aesthetics 51 (3):237-257.
    The prevalence of colourful metaphors and figurative language in critics’ descriptions of artworks has long attracted attention. Talk of ‘liquid melodies’, ‘purple prose’, ‘soaring arches’, and the use of still more elaborate figurative descriptions, is not uncommon. My aim in this paper is to explain why metaphor is so prevalent in critical description. Many have taken the prevalence of art-critical metaphors to reveal something important about aesthetic experience and aesthetic properties. My focus is different. I attempt to determine what metaphor (...)
    Remove from this list   Direct download (9 more)  
     
    Export citation  
     
    Bookmark  
  2. added 2019-03-12
    Introduction: From Pleasures to Principles.Jennifer A. McMahon - 2018 - In Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. New York, USA: Routledge. pp. 1-9.
    The arguments of each chapter demonstrate that there is no neutral perspective from which to analyse aesthetic qualities. Such qualities cannot be described as their very perception involves evaluation. In short, the chapters focus on those aspects of a first person perspective that can be considered inter-personal in the sense that they are susceptible of intentional calibration and enculturation. That said, not all chapters approach the theme from the same perspective nor with the same targets in mind. For example, approaching (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  3. 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 (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  4. added 2018-09-06
    Real Objective Beauty.Christopher Mole - 2016 - British Journal of Aesthetics 56 (4):367-381.
    Once we have distinguished between beauty and aesthetic value, we are faced with the question of whether beauty is a thing of value in itself. A number of theorists have suggested that the answer might be no. They have thought that the pursuit of beauty is just the indulgence of one particular taste: a taste that has, for contingent historical reasons, been privileged. This paper attempts to resist a line of thought that leads to that conclusion. It does so by (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  5. added 2018-05-26
    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 (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  6. added 2018-05-10
    Moral Realism, Aesthetic Realism, and the Asymmetry Claim.Louise Hanson - 2018 - Ethics 129 (1):39-69.
    Many people accept, at least implicitly, what I call the asymmetry claim: the view that moral realism is more defensible than aesthetic realism. This article challenges the asymmetry claim. I argue that it is surprisingly hard to find points of contrast between the two domains that could justify their very different treatment with respect to realism. I consider five potentially promising ways to do this, and I argue that all of them fail. If I am right, those who accept the (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  7. added 2018-03-20
    On Jane Forsey’s Critique of the Sublime.Jennifer A. McMahon - 2017 - In Lars Aagaard-Mogensen (ed.), The Possibility of the Sublime: Aesthetic Exchanges. Newcastle upon Tyne: Cambridge Scholars Publishing. pp. 81-91.
    The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  8. added 2018-01-16
    Expressivism and Arguing About Art.Daan Evers - 2018 - British Journal of Aesthetics 58 (2):181-191.
    Peter Kivy claims that expressivists in aesthetics cannot explain why we argue about art. The situation would be different in the case of morals. Moral attitudes lead to action, and since actions affect people, we have a strong incentive to change people’s moral attitudes. This can explain why we argue about morals, even if moral language is expressive of our feelings. However, judgements about what is beautiful and elegant need not significantly affect our lives. So why be concerned with other (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  9. added 2017-04-04
    Aesthetic Reasons.McGonigal Andrew - forthcoming - In Daniel Star (ed.), The Oxford Handbook of Reasons and Normativity. Oxford: Oxford University Press.
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  10. added 2017-03-30
    Invisible Disagreement: An Inverted Qualia Argument for Realism.Justin Donhauser - 2017 - Philosophical Studies 174 (3):593-606.
    Scientific realists argue that a good track record of multi-agent, and multiple method, validation of empirical claims is itself evidence that those claims, at least partially and approximately, reflect ways nature actually is independent of the ways we conceptualize it. Constructivists contend that successes in validating empirical claims only suffice to establish that our ways of modelling the world, our “constructions,” are useful and adequate for beings like us. This essay presents a thought experiment in which beings like us intersubjectively (...)
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark  
  11. added 2016-12-08
    A Note on the Aesthetics of Mirror Reversal.Rafael Clercq - 2007 - Philosophical Studies 132 (3):553 - 563.
    According to Roy Sorensen [Philosophical Studies 100 (2000) 175–191] an object cannot differ aesthetically from its mirror image. On his view, mirror-reversing an object – changing its left/right orientation – cannot bring about any aesthetic change. However, in arguing for this thesis Sorensen assumes that aesthetic properties supervene on intrinsic properties alone. This is a highly controversial assumption and nothing is offered in its support. Moreover, a plausible weakening of the assumption does not improve the argument. Finally, Sorensen’s second argument (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  12. added 2016-12-08
    Reflections on Aesthetic Judgement.B. R. Tilghman - 2004 - British Journal of Aesthetics 44 (3):248-260.
    Aesthetic realism is offered as a way of overcoming aesthetic disagreement and combating all forms of subjectivism, emotivism, and so on, with its thesis that aesthetic qualities really exist and the judgements about them are genuine statements of fact. This paper questions the intelligibility of that thesis together with its claim that aesthetic qualities are supervenient upon non-aesthetic ones. It is suggested that in this context supervenience amounts to little more than aspect perception and that allows ontological claims about supervenient (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  13. added 2016-04-11
    The Infinite Sphere: Comments on the History of a Metaphor.Karsten Harries - 1975 - Journal of the History of Philosophy 13 (1):5-15.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  14. added 2015-10-24
    Realismo E Antirealismo Nella Relazione di Arte E Esperienza Religiosa.Daniele Bertini - 2011 - In Massimo IIritano & Sergio Sorrentino (eds.), Arte e esperienza religiosa. Fredericiana.
    My starting assumption concerns the default view in western aestethics. My claim is that the view can be characterized in the following manner: while the arts and religious experience are formally different kinds of human experience, the arts have the same content of religious experience (Essentialist claim, EC). I argue that both from a realist and antirealist standpoint EC does not make sense. Consequently, EC should be rejected as the right approach to the relation between the arts and religious experience.
    Remove from this list   Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  15. added 2015-09-19
    Pierre Bertrand, "l'Artiste". [REVIEW]Guy Bouchard - 1987 - Dialogue 26 (1):192.
    "J'aime ce livre" serait une proposition insignifiante. L'artiste: un prétexte. On en parle, certes, mais dans une perspective de déconstruction. L'art, donc, plutôt comme expression de la vie. Et la vie comme art de la fuite révolutionnaire. Certains auteurs sont cités à satiété, certains passages sont repris textuellement, répétion aussi des mêmes thèmes, des mêmes expressions. Et une impasse fondamentale. "J'aime ce livre est en effet une proposition insignifiante.Tout propos portant sur le passé, dire "je t'aime", c'est dire qu'en ce (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  16. added 2015-09-05
    Dying to Be Seen: Snuff-Fiction’s Problematic Fantasises of ‘Reality’.Steve Jones - 2011 - Scope 19:1-20.
    The mythic Snuff film has remained a persistent cinematic rumour since the mid-1970s. The discourses that surround Snuff are preoccupied by two factors: (a) the formal aesthetic, and (b) their alleged role as a kind of titillating pornography. Although critical narratives have been established to account for the subgenre, little has been done to unpick a recent wave of hardcore horror pseudo-Snuff texts, and the cultural climate they enter into. Exploring the August Underground trilogy (2001-2007) in particular, I investigate how (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  17. added 2014-10-09
    Realism in the Desert.Achille C. Varzi - 2014 - In Massimo Dell’Utri, Fabio Bacchini & Stefano Caputo (eds.), Realism and Ontology without Myths. Cambridge Scholars Press. pp. 16–31.
    Quine’s desert is generally contrasted with Meinong’s jungle, as a sober ontological alternative to the exuberant luxuriance that comes with the latter. Here I focus instead on the desert as a sober metaphysical alternative to the Aristotelian garden, with its tidily organized varieties of flora and fauna neatly governed by fundamental laws that reflect the essence of things and the way they can be, or the way they must be. In the desert there are no “natural joints”; all the boundaries (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  18. added 2014-04-02
    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 (...)
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark   10 citations  
  19. added 2014-04-01
    Realism, Supervenience, and Irresolvable Aesthetic Disputes.John W. Bender - 1996 - Journal of Aesthetics and Art Criticism 54 (4):371-381.
  20. added 2014-03-20
    Aesthetic Realism and Emotional Qualities of Music.Malcolm Budd - 2005 - British Journal of Aesthetics 45 (2):111-122.
    Roger Scruton appears to have been the first to argue for and articulate an anti-realist theory of aesthetic properties. In the case of emotional qualities of music, his principal argument against realism is unsound and cannot, I believe, be repaired. Nevertheless an anti-realist view of emotional qualities of music is in my view correct and I defend Scruton's insight against a rival realist conception. However, I prefer a rather different form of anti-realism to Scruton's.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  21. added 2014-03-20
    A Note on Two Conceptions of Aesthetic Realism.Edward Green - 2005 - British Journal of Aesthetics 45 (4):438-440.
    on great currency in analytic philosophical aesthetics. What is not generally known is that the American philosopher Eli Siegel called the philosophy he founded in the 1940s Aesthetic Realism. His philosophy has as its central principle: ‘The world, art, and self explain each other: each is the aesthetic oneness of opposites.’ Thus, two distinct uses of the same terminology exist, and should not be confused.
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark  
  22. added 2014-03-14
    The Structure of Aesthetic Properties.Rafael De Clercq - 2008 - Philosophy Compass 3 (5):894-909.
    Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  23. added 2013-09-15
    From Zombie Art to Dead Art.Raamy Majeed - 2016 - Think 15 (43):25-37.
    Zombie art, or salvage art, are artworks that are damaged beyond repair, deemed by insurance companies, and removed from the market and stored at claims inventories due to their purported loss of value. This paper aims to make sense of the notion of zombie art. It then aims to determine whether artefacts that fall under this concept retain any aesthetic value, and whether they can genuinely cease being artworks, i.e. be dead art.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  24. added 2012-05-23
    Thomas Reid on Aesthetic Perception.Rebecca Copenhaver - 2015 - In Todd Buras & Rebecca Copenhaver (eds.), Thomas Reid on Mind, Knowledge and Value. pp. 124-138.
  25. added 2011-08-01
    Intersubjective Validity, Realism and Aesthetics. [REVIEW]Robert Hopkins - 2010 - Analysis 70 (3):557-562.
    Remove from this list   Direct download (8 more)  
     
    Export citation  
     
    Bookmark  
  26. added 2011-05-09
    The Ontology of Art.Guy Rohrbaugh - 2013 - In Berys Gaut & Dominic Lopes (eds.), Routledge Companion to Aesthetics, 3rd edition. Routledge. pp. 235-45.
    Ontology is the study of what exists and the nature of the most fundamental categories into which those existents fall. Ontologists offer a map of reality, one divided into such broad, overlapping territories as physical and mental, concrete and abstract, universal and particular. Such a map provides the setting for further philosophical investigation. Ontologists of art seek to locate works of art in this wider terrain, to say where in our universe they fit in. Their governing question is, thus, “What (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark   1 citation  
  27. added 2011-04-11
    Roman Ingarden's Objectivity Vs. Subjectivity as a Problem of Translatability.Gabriel Pareyon - unknown
    Ingarden (1962, 1964) postulates that artworks exist in an “Objective purely intentional” way. According to this view, objectivity and subjectivity are opposed forms of existence, parallel to the opposition between realism and idealism. Using arguments of cognitive science, experimental psychology, and semiotics, this lecture proposes that, particularly in the aesthetic phenomena, realism and idealism are not pure oppositions; rather they are aspects of a single process of cognition in different strata. Furthermore, the concept of realism can be conceived as an (...)
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  28. added 2010-09-28
    Approaching Descriptive and Theoretical Truth.Theo A. F. Kuipers - 1982 - Erkenntnis 18 (3):343 - 378.
    In this article I give a naturalistic-cum-formal analysis of the relation between beauty, empirical success, and truth. The analysis is based on the one hand on a hypothetical variant of the so-called 'mere-exposure effect' which has been more or less established in experimental psychology regarding exposure-affect relationships in general and aesthetic appreciation in particular (Zajonc 1968; Temme 1983; Bornstein 1989; (Ye 2000). On the other hand it is based on the formal theory of truthlikeness and truth approximation as presented in (...)
    Remove from this list   Direct download (9 more)  
     
    Export citation  
     
    Bookmark   19 citations  
  29. added 2010-09-28
    Art as Cognitive: Beyond Scientific Realism.Laurence Foss - 1971 - Philosophy of Science 38 (2):234-250.
    Thesis: Art like science radically affects our perceiving and thinking, and the two are substantially alike in that together--along with an inherited "natural" language system with which they overlap--they enable us to articulate the world. Science has been advanced as the measure of all things: scientific realism. By implication, art pertains to beauty, science truth. Science effects conceptual break-throughs, changes our models of natural order. On the contrary (I argue), as a nonverbal symbol system art similarly affects paradigm-induced expectations. Substantively (...)
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark  
  30. added 2010-09-28
    Science and the Rejection of Realism in Art.Benjamin Mott - 1963 - Synthese 15 (1):389 - 400.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  31. added 2010-09-28
    Beauty in Mathematics.Ulianov Montano Juarez - unknown
    The aim of this work is to account for expressions like “Cantor’s diagonal proof is elegant” or “Euler identity is the most beautiful formula of mathematics”. This type of expressions is common among mathematicians; however, they may result in two kinds of puzzled reactions: first, the non mathematician may find the use of the word ‘beautiful’ strange in this context. Second, the mathematician may try to reinterpret mathematical beauty in terms of the principles and precepts of mathematics itself. I present (...)
    Remove from this list   Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  32. added 2010-06-22
    Oxford Companion to Aesthetics.Jerrold Levinson (ed.) - 2003 - Oxford University Press.
    Remove from this list  
    Translate
     
     
    Export citation  
     
    Bookmark  
  33. added 2010-01-05
    Relativism and Pictorial Realism.Robert Grigg - 1984 - Journal of Aesthetics and Art Criticism 42 (4):397-408.
  34. added 2009-12-16
    Wittgenstein and Value: The Quest for Meaning.Eric B. Litwack - 2009 - Continuum.
    Introduction -- Wittgenstein's early conception of value -- An outline of tractarian ontology -- Value, the self, and the mystical -- The lecture on ethics -- Language-games, the private language argument and aspect psychology -- Language-games -- The private language argument -- Aspect psychology -- The soul and attitudes towards the living -- Wittgenstein's general conception of the soul -- Ilham Dilman on the soul and seeing-as -- Religious contexts -- J.B. Watson and the denial of the soul -- Attitudes (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   2 citations  
  35. added 2009-12-16
    Qu'est-ce qu'un jugement esthétique? Chs1,2 online.John Zeimbekis - 2006 - Vrin.
    Among the book's arguments: Aesthetic property relativism, as described by Alan Goldman, requires subjects to make judgments based on prima facie preferences for determinable properties (eg being curved, being blue). These judgments are not bona fide because they do not require acquaintance with objects. Value concepts and aesthetic (thick) concepts relate contingently. We can be aesthetic property realists, or quasi-realists, without being aesthetic value realists. Contains epistemological arguments against neuro-aesthetics (Ramachandran), aesthetic sense theory (Hutcheson), physiological theories (Burke), and Hume's realism.
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  36. added 2009-12-16
    Aesthetic Realism 1.Nick Zangwill - 2005 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press.
    Remove from this list  
     
    Export citation  
     
    Bookmark   1 citation  
  37. added 2009-12-16
    Beauty.Nick Zangwill - 2003 - In Jerrold Levinson (ed.), Oxford Companion to Aesthetics. Oxford University Press.
    I shall discuss several related issues about beauty. These are: (1) The place of beauty among other aesthetic properties. (2) The general principle of aesthetic supervenience. (3) The problem of aesthetic relevance. (4) The distinction between free and dependent beauty. (5) The primacy of our appreciation of free beauty over our appreciation of dependent beauty. (6) Personal beauty as a species of beauty. (7) The metaphysics of beauty.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  38. added 2009-12-16
    Sensitivity, Sensibility, and Aesthetic Realism.John W. Bender - 2001 - Journal of Aesthetics and Art Criticism 59 (1):73-83.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  39. added 2009-12-16
    Intention, Supervenience, and Aesthetic Realism.Marcia Muelder Eaton - 1998 - British Journal of Aesthetics 38 (3):279-293.
  40. added 2009-12-16
    Reply to Gould and Levinson on Aesthetic Realism.Alan Goldman - 1994 - Journal of Aesthetics and Art Criticism 52 (3):354-356.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  41. added 2009-12-16
    Realism About Aesthetic Properties.Alan H. Goldman - 1993 - Journal of Aesthetics and Art Criticism 51 (1):31-37.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  42. added 2009-06-01
    Works of Art as Physically Embodied and Culturally Emergent Entities.Joseph Margolis - 1974 - British Journal of Aesthetics 14 (3):187-196.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   8 citations