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  1. Aesthetic Reasons.McGonigal Andrew - forthcoming - In Daniel Star (ed.), Oxford Handbook of Reasons and Normativity. Oxford: Oxford University Press.
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  2. The Limits of Faultless Disagreement.Carl Baker - manuscript
    Some have argued that the possibility of faultless disagreement gives relativist semantic theories an important explanatory advantage over their absolutist and contextualist rivals. Here I combat this argument, focusing on the specific case of aesthetic discourse. My argument has two stages. First, I argue that while relativists may be able to account for the possibility of faultless aesthetic disagreement, they nevertheless face difficulty in accounting for the intuitive limits of faultless disagreement. Second, I develop a new non-relativist theory which can (...)
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  3. Indexical Contextualism and the Challenges From Disagreement.Carl Baker - 2012 - Philosophical Studies 157 (1):107-123.
    In this paper I argue against one variety of contextualism about aesthetic predicates such as “beautiful.” Contextualist analyses of these and other predicates have been subject to several challenges surrounding disagreement. Focusing on one kind of contextualism— individualized indexical contextualism —I unpack these various challenges and consider the responses available to the contextualist. The three responses I consider are as follows: giving an alternative analysis of the concept of disagreement ; claiming that speakers suffer from semantic blindness; and claiming that (...)
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  4. The Refutation of Relativism.Monroe C. Beardsley - 1983 - Journal of Aesthetics and Art Criticism 41 (3):265-270.
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  5. Still Looking for Proof: A Critique of Smith's Relativism.Gordon C. F. Bearn - 1991 - Journal of Aesthetics and Art Criticism 49 (4):297-306.
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  6. What is Relativism?Paul Boghossian - 2006 - In Patrick Greenough & Michael Lynch (eds.), Truth and Relativism. Clarendon Press. pp. 13--37.
    Many philosophers, however, have been tempted to be relativists about specific domains of discourse, especially about those domains that have a normative character. Gilbert Harman, for example, has defended a relativistic view of morality, Richard Rorty a relativistic view of epistemic justification, and Crispin Wright a relativistic view of judgments of taste.¹ But what exactly is it to be a relativist about a given domain of discourse? The term ‘‘relativism’’ has, of course, been used in a bewildering variety of senses (...)
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  7. Aesthetic Value, Intersubjectivity and the Absolute Conception of the World.G. Anthony Bruno - 2009 - Postgraduate Journal of Aesthetics 6 (3).
    In the Critique of the Power of Judgment, Kant diagnoses an antinomy of taste: either determinate concepts exhaust judgments of taste or they do not. That is to say, judgments of taste are either objective and public or subjective and private. On the objectivity thesis, aesthetic value is predicable of objects. But determining the concepts that would make a judgment of taste objective is a vexing matter. Who can say which concepts these would be? To what authority does one appeal? (...)
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  8. Imagining Art.Brandon Cooke - 2007 - British Journal of Aesthetics 47 (1):29-45.
    Aesthetic discourse is highly metaphorical, and many art-critical metaphors seem to be genuinely informative. Aesthetic property realism holds that the characteristic terms of aesthetic discourse pick out mind-independent properties. The prevalence of metaphor is a problem for realism, then, because most art-critical metaphors are true only when artworks are imagined in a certain way. Realist attempts to consign metaphor to the roles of filling lexical gaps or picking out mind-independent but ineffable properties fail. I argue that a cognitivist aesthetic anti-realism (...)
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  9. Critical Pluralism Unmasked.Brandon Cooke - 2002 - British Journal of Aesthetics 42 (3):296-309.
    Artworks frequently are the objects of multiple and apparently conflicting aesthetic judgements. This commonplace of the artworld poses a challenge for realist metaphysics, because to assert conflicting judgements of an artwork seems to amount to asserting p & p. Critical pluralism is an ever-more frequently invoked solution to this impasse. What its varieties share in common is the claim that the disagreement between judgements is only an apparent one. I argue, however, that critical pluralism masquerades either as relativism or anti-realism. (...)
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  10. Aesthetic Judgment and Cultural Relativism.Daniel J. Crowley - 1958 - Journal of Aesthetics and Art Criticism 17 (2):187-193.
  11. Defining Art, Defending the Canon, Contesting Culture.Paul Crowther - 2004 - British Journal of Aesthetics 44 (4):361-377.
    This paper criticizes contemporary relativist scepticism concerning the universal validity of the concepts ‘art’ and the ‘aesthetic’. As an alternative, it offers a normative definition of art based on intrinsic aesthetic meaning contextualized by innovation and refinement in the diachronic history of art media. In section I, anti-foundationalist relativism, and softer versions (found in the Institutional definitions of art) are expounded in relation to art and the aesthetic. In section II, it is argued that antifoundationalism is conceptually flawed and tacitly (...)
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  12. Relativism in Interpretation.Stephen Davies - 1995 - Journal of Aesthetics and Art Criticism 53 (1):8-13.
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  13. Relativism and Assertion.Alexander Dinges - 2017 - Australasian Journal of Philosophy 95 (4):730-740.
    Relativism entails that sentences like ‘Liquorice is tasty’ are used to assert relativistic propositions—that is, propositions whose truth-value is relative to a taste standard. I will defend this view against two objections. According to the first objection, relativism is incompatible with a Stalnakerian account of assertion. I will show that this objection fails because Stalnakerian assertions are proposals rather than attempts to update the common ground. According to the second objection, relativism problematically predicts that we can correctly assess beliefs as (...)
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  14. Disputing About Taste.Andy Egan - 2010 - In Ted Warfield & Richard Feldman (eds.), Disagreement. Oxford, UK: Oxford University Press. pp. 247-286.
    “There’s no disputing about taste.” That’s got a nice ring to it, but it’s not quite the ring of truth. While there’s definitely something right about the aphorism – there’s a reason why it is, after all, an aphorism, and why its utterance tends to produce so much nodding of heads and muttering of “just so” and “yes, quite” – it’s surprisingly difficult to put one’s finger on just what the truth in the neighborhood is, exactly. One thing that’s pretty (...)
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  15. Zwischen Phänomen und Konstrukt. Zur Ästhetik der Gegenwartskunst.Ferdinand Fellmann - 2016 - In H. Paflik-Huber (ed.), Let's Mix All Media Together. Hatje Cantz. pp. 300-311.
    Die Kunstwissenschaft zeichnet sich in den letzten Jahrzehnten dadurch aus, dass sie analog zur Entwicklung in der Kunst keine übergreifende Stilbildung mehr betreibt. In der vorliegenden Publikation nähern sich nun international anerkannte Kunstwissenschaftler, Philosophen und Medienwissenschaftler dem Begriff »Bild« – sowohl durch klassische Bildanalysen und ästhetische Fragestellungen als auch durch Versuche, einen neuen wissenschaftlichen Begriff für Kunst zu finden. Die Autoren, darunter Felix Ensslin, Frieder Nake, Jean-Baptiste Joly, Ute Meta Bauer, Katharina Sykora und Beat Wyss, erörtern, wie wir Bilder lesen (...)
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  16. Disagreement About Taste and Alethic Suberogation.Filippo Ferrari - 2016 - Philosophical Quarterly 66 (264):516-535.
    I present a novel strategy to account for two thoughts concerning disagreements about taste: (i) that they need not involve any substantive fault (faultlessness); (ii) that the faultlessness of a contrary opinion can be coherently appreciated from within a committed perspective (parity). Under the assumption that judgments of taste are truth-apt and governed by the truth-norm, I argue that understanding how exactly truth is normative offers a strategy for accounting for both thoughts. I distinguish between different ways in which truth (...)
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  17. The Relativism of Henry James.Joseph J. Firebaugh - 1953 - Journal of Aesthetics and Art Criticism 12 (2):237-242.
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  18. Context, Content, and Relativism.Michael Glanzberg - 2007 - Philosophical Studies 136 (1):1--29.
    This paper argues against relativism, focusing on relativism based on the semantics of predicates of personal taste. It presents and defends a contextualist semantics for these predicates, derived from current work on gradable adjectives. It then considers metasemantic questions about the kinds of contextual parameters this semantics requires. It argues they are not metasemantically different from those in other gradable adjectives, and that contextual parameters of this sort are widespread in natural language. Furthermore, this paper shows that if such parameters (...)
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  19. Relativism and Pictorial Realism.Robert Grigg - 1984 - Journal of Aesthetics and Art Criticism 42 (4):397-408.
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  20. The Infinite Sphere: Comments on the History of a Metaphor.Karsten Harries - 1975 - Journal of the History of Philosophy 13 (1):5-15.
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  21. "Relativism" and "Objectivity" in Stephen C. Pepper's Theory of Criticism.Bernard C. Heyl - 1960 - Journal of Aesthetics and Art Criticism 18 (3):378-393.
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  22. Relativism Again.Bernard C. Heyl - 1946 - Journal of Aesthetics and Art Criticism 5 (1):54-61.
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  23. Ii *-Realism and Relativism in the Theory of Art.John Hyman - 2005 - Proceedings of the Aristotelian Society 105 (1):25-53.
    Pluralism—the incommensurability and, at times, incompatibility of objective ends—is not relativism, nor, a fortiori, subjectivism, nor the allegedly unbridgeable differences of emotional attitude on which some modern positivists, emotivists, existentialists, nationalists and, indeed, relativistic sociologists and anthropologists found their accounts.
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  24. Realism and Relativism in the Theory of Art.John Hyman - 2004 - Proceedings of the Aristotelian Society 105 (1):25–53.
    Pluralism—the incommensurability and, at times, incompatibility of objective ends—is not relativism, nor, a fortiori, subjectivism, nor the allegedly unbridgeable differences of emotional attitude on which some modern positivists, emotivists, existentialists, nationalists and, indeed, relativistic sociologists and anthropologists found their accounts.
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  25. Representation, Relativism and Resemblance.James W. Manns - 1971 - British Journal of Aesthetics 11 (3):281-287.
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  26. Plain Talk About Interpretation on a Relativistic Model.Joseph Margolis - 1995 - Journal of Aesthetics and Art Criticism 53 (1):1-7.
  27. Robust Relativism.Joseph Margolis - 1976 - Journal of Aesthetics and Art Criticism 35 (1):37-46.
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  28. Retractions.Teresa Marques - 2015 - Synthese:1-25.
    Intuitions about retractions have been used to motivate truth relativism about certain types of claims. Among these figure epistemic modals, knowledge attributions, or personal taste claims. On MacFarlane’s prominent relativist proposal, sentences like “the ice cream might be in the freezer” or “Pocoyo is funny” are only assigned a truth-value relative to contexts of utterance and contexts of assessment. Retractions play a crucial role in the argument for assessment-relativism. A retraction of a past assertion is supposed to be mandatory whenever (...)
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  29. New Prospects for Aesthetic Hedonism.Mohan Matthen - forthcoming - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. London: Routledge.
    Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an account of pleasure-learning, in which it reinforces (...)
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  30. Context-Dependence, Perspective and Relativity.François Recanati, Isidora Stojanovic & Neftali Villanueva (eds.) - 2010 - Mouton de Gruyter.
    Aims and Scope -/- This volume brings together original papers by linguists and philosophers on the role of context and perspective in language and thought. Several contributions are concerned with the contextualism/relativism debate, which has loomed large in recent philosophical discussions. In a substantial introduction, the editors survey the field and map out the relevant issues and positions.
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  31. Relativism About Interpretation.Robert Stecker - 1995 - Journal of Aesthetics and Art Criticism 53 (1):14-18.
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  32. Emotional Disagreement: The Role of Semantic Content in the Expression of, and Disagreement Over, Emotional Values.Isidora Stojanovic - 2012 - Dialogue 51 (1):99-117.
  33. On Objective Relativism in Aesthetics.Jerome Stolnitz - 1960 - Journal of Philosophy 57 (8):261-276.
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  34. Disagreements About Taste.Timothy Sundell - 2011 - Philosophical Studies 155 (2):267-288.
    I argue for the possibility of substantive aesthetic disagreements in which both parties speak truly. The possibility of such disputes undermines an argument mobilized by relativists such as Lasersohn (Linguist Philos 28:643–686, 2005) and MacFarlane (Philos Stud 132:17–31, 2007) against contextualism about aesthetic terminology. In describing the facts of aesthetic disagreement, I distinguish between the intuition of dispute on the one hand and the felicity of denial on the other. Considered separately, neither of those phenomena requires that there be a (...)
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  35. The Modality Principle and Work-Relativity of Modality.Danilo Šuster - 2005 - Acta Analytica 20 (4):41-52.
    Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more in the spirit of contextualism to understand looseness as context-dependent. This points to the general (...)
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  36. Toward a Retreat From Relativism.David Topper - 1987 - Journal of Aesthetics and Art Criticism 46 (2):302-304.
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  37. Beauty in Context: Towards an Anthropological Approach to Aesthetics.Wilfried Van Damme - 1996 - E.J. Brill.
    In surveying the field of the anthropology of aesthetics, the author argues that the phenomenon of cultural relativism in easthetic preference may be accounted ...
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  38. Intuitionism, Realism, Relativism and Rhubarb.Crispin Wright - 2006 - In Patrick Greenough & Michael Lynch (eds.), Truth and Realism. Clarendon Press. pp. 38--60.
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  39. Relativism, Standards and Aesthetic Judgements.James O. Young - 2009 - International Journal of Philosophical Studies 17 (2):221 – 231.
    This paper explores the various available forms of relativism concerning aesthetic judgement and contrasts them with aesthetic absolutism. Two important distinctions are drawn. The first is between subjectivism (which relativizes judgements to an individual's sentiments or feelings) and the relativization of aesthetic judgements to intersubjective standards. The other is between relativism about aesthetic properties and relativism about the truth-values of aesthetic judgements. Several plausible forms of relativism about aesthetic properties are on offer, but relativism about the truth-values of aesthetic judgements (...)
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  40. Adaptive Naturalism in Herder’s Aesthetics.Rachel Zuckert - 2015 - Graduate Faculty Philosophy Journal 36 (2):269-293.
    I discuss an apparent tension between two aspects of Johann Gottfried Herder’s aesthetic theory: his emphasis on and endorsement of art’s cultural embeddedness and historical variation, and his reliance on natural norms of artistic value. I propose that Herder’s essay, “Shakespeare,” suggests a possible resolution to this tension, a position I call “adaptive naturalism.” On this view, aesthetic value comprises a work’s capacity to promote the exercise of human natural capacities in harmony with the (natural or social) environment. Thus such (...)
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