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  1. added 2019-06-06
    Aesthetics and Subjectivity: From Kant to Nietzsche, 2nd Edn. [REVIEW]Elisabeth Schellekens - 2004 - British Journal of Aesthetics 44 (3):304-307.
  2. added 2019-06-05
    Constructing Aesthetic Value: Responses to My Commentators.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):100-111.
    This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a work of art (...)
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  3. added 2019-05-19
    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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  4. 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 (...)
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  5. added 2018-09-24
    Art, Pleasure, Value: Reframing the Questions.Mohan Matthen - 2018 - Philosophic Exchange 47 (1).
    In this essay, I’ll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a “feeling” or “sensation” that results from engaging with a work (...)
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  6. added 2018-07-23
    Is the Debate Between Rawlsians and Liberal Perfectionists About Aesthetics?Terence Rajivan Edward - manuscript
    Does the debate between Rawlsians and liberal perfectionists boil down to the following: for liberal perfectionists, the government should fund aesthetic projects that are in good taste; for Rawlsians, the government should be neutral on the aesthetic value of anything? If so, liberal perfectionists are committed to the view that there is objective aesthetic value. In this paper, I argue that within the Rawlsian system is a thesis that is difficult to reconcile with objectivity about aesthetics.
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  7. added 2018-02-17
    UM PANORAMA INICIAL SOBRE DIMENSÃO ESTÉTICA EM MARCUSE E SUA CRÍTICA AOS ESTETAS DO MARXISMO ORTODOXO.Jair Soares - 2016 - Encontro Nacional Herbert Marcuse.
    The aim of this abstract is to present an overview of the thinking of the philosopher Hebert Marcuse in relation to Art, exposing his criticism of the orthodox conception of Marxist aesthetics, as well as to explain the author 's proposal on art as an essential component of the revolution in opposed to the affirmative culture of the "status quo" and the established ". For such an exposition to the methodology used, it started from a literary and philosophical consultation in (...)
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  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 (...)
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  9. added 2017-11-17
    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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  10. added 2017-08-08
    Meaning in Life and the Metaphysics of Value.Daan Evers - 2017 - De Ethica 4 (3):27-44.
    According to subjectivist views about a meaningful life, one's life is meaningful in virtue of desire satisfaction or feelings of fulfilment. Standard counterexamples consist of satisfaction found through trivial or immoral tasks. In response to such examples, many philosophers require that the tasks one is devoted to are objectively valuable, or have objectively valuable consequences. I argue that the counterexamples to subjectivism do not require objective value for meaning in life. I also consider other reasons for thinking that meaning in (...)
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  11. added 2016-09-01
    » Ästhetik im Ausgang vom Werk. Eugene Delacroix: Fantasie arabe (1833). Exemplarische Überlegungen «.Thomas Loer - forthcoming - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft.
  12. added 2016-03-24
    "Shadow-Lands": The Suffering Image.Gavin Keeney - manuscript
    Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.
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  13. added 2014-03-29
    The Beautiful, the Sublime the Grotesque: The Subjective Turn in Aesthetics From the Enlightenment to the Present.Michael J. Matthis (ed.) - 2010 - Cambridge Scholars Press.
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  14. added 2014-03-23
    The Art of Nature: Hegel and the Critique of Judgment.Allen Hance - 1998 - International Journal of Philosophical Studies 6 (1):37 – 65.
    This essay examines the reasons for Hegel's frequently professed claim that Kant's Critique of Judgment simultaneously reveals the internal limits of critical philosophy and opens the door to his own system of speculative idealism. It evaluates Hegel's contention that the conceptions of aesthetic experience, organic purposiveness, and the intuitive intellect developed in the third Critique together conspire to undermine the epistemological and metaphysical foundations of the theories of nature and freedom advanced in the first and second Critiques . Finally it (...)
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  15. added 2014-03-16
    Topography of the Border: Derrida Rewriting Transcendental Aesthetics.Joanna Hodge - 2009 - In Dominiek Hoens, Sigi Jottkandt & Gert Buelens (eds.), The Catastrophic Imperative: Subjectivity, Time and Memory in Contemporary Thought. Palgrave-Macmillan.
  16. added 2014-03-15
    Art, Aesthetics and Subjectivity.Fred Rush - 2007 - European Journal of Philosophy 15 (2):283–296.
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  17. added 2014-03-12
    The Subjective Universality of Aesthetic Judgements Revisited.Bart Vandenabeele - 2008 - British Journal of Aesthetics 48 (4):410-425.
    When we are touched by the beauty of something, we cannot help judging that the experienced feeling of pleasure ought to be shared by others. In Kantian terms, a pure judgement of taste requires or demands everyone else's assent. I examine some of the major intricacies of Kant's account and aim to correct some distorted views of it. I argue that the autonomy (or ‘heautonomy’) of the judgement of taste is not presupposed but made possible by the modal requirement as (...)
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  18. added 2014-03-07
    Who’s Who From Kant to Hegel II: Art and the Absolute.Peter Graham Thielke - 2010 - Philosophy Compass 5 (5):398-411.
    Kant's 'Copernican Revolution', which began in the Critique of Pure Reason (1781/1787), had, by the early 1790s, fundamentally altered the terrain of German philosophy – but not entirely in the way that Kant had foreseen. Skeptical challenges to Kant's discursive account of cognition, in which experience arises from the separate faculties of sensibility and understanding, had led thinkers such as K.L. Reinhold and J.G. Fichte to attempt to provide a first, foundational principle for the critical philosophy. These efforts were enormously (...)
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  19. added 2012-12-12
    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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  20. added 2011-04-11
    Roman Viewing (J.) Elsner Roman Eyes. Visuality and Subjectivity in Art and Text. Pp. Xviii + 350, Ills, Colour Pls. Princeton and Oxford: Princeton University Press, 2007. Cased, £32.50, US$49.50. ISBN: 978-0-691-09677-. [REVIEW]Zahra Newby - 2008 - The Classical Review 58 (2):420-.
  21. added 2011-04-11
    Subjectivism in the Theory of Pictorial Art.John Hymen - 2003 - The Monist 86 (4):676-701.
    1. A new wave of subjectivism in the theory of pictorial art began around forty years ago; and since then it has gathered pace in tandem with changing fashions in the philosophy of mind. The initial impetus was provided by the publication of Ernst Gombrich’s 1956 Mellon Lectures, Art and Illusion.1 In this book, and in many subsequent articles and lectures which elaborate its theme, Gombrich argues that the development of Western art – essentially the art of ancient Greece and (...)
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  22. added 2011-04-11
    Why is Chu Kuang-Ch'ien's Aesthetic Thought Subjective Idealism?Ts'ai I. - 1975 - Contemporary Chinese Thought 6 (3):62-118.
    In the realm of man's culture, among the things created by man, art should be beautiful; its primary essential characteristic should be that it be able to evoke a sense of beauty in the person, that by its beauty it be able to provide for the person the pleasure of the sense of beauty. This is a fact that no one can deny outright. However, saying that art should be beautiful is not the same as saying that all art is (...)
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  23. added 2010-09-28
    Deleuze, Jonas, and Thompson Toward a New Transcendental Aesthetic and a New Question of Panpsychism.John Protevi - unknown
    Both Deleuze in DR and Thompson / Jonas can be fairly said to be biological panpsychists. That‘s pretty much what ―Mind in Life‖ means: mind and life are co-extensive: life = autopoiesis and cognition = sense-making. Thus Mind in Life = autopoietic sense-making = control of action of organism in environment. Sense-making here is three-fold: 1) sensibility as openness to environment; 2) signification as positive or negative valence of environmental features relative to the subjective norms of the organism; 3) direction (...)
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  24. added 2010-09-28
    Context Building and Educating Imaginative Engagement.David E. W. Fenner - 2010 - Journal of Aesthetic Education 44 (3):109-123.
    In my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic reward depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context (...)
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  25. added 2010-09-28
    Color.Eric M. Rubenstein - 2006 - Internet Encyclopedia of Philosophy.
    Philosophy has long struggled to understand the nature of color. The central role color plays in our lives, in visual experience, in art, as a metaphor for emotions, has made it an obvious candidate for philosophical reflection. Understanding the nature of color, however, has proved a daunting task, despite the numerous fields that contribute to the project. Even knowing how to start can be difficult. Is color to be understood as an objective part of reality, a property of objects with (...)
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  26. added 2010-09-28
    Beyond Subjectivism: Heidegger on Language and the Human Being.Abraham Mansbach - 2002 - Greenwood Press.
    Machine generated contents note: 1 The Problem of Subjectivism -- 2 The Self: Dispersion and Constancy -- 3 Decentering the Subject: Works of Art as Heroes -- 4 Practice, Language, and Poetry -- 5 Language: The Transcendental Path -- 6 Language as a Web -- 7 The Human Being as Speaker and Mortal -- 8 Being Human in the Age of Technology.
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  27. added 2010-01-18
    Cinema and Subjectivity in Krzysztof Kieslowski.Paul C. Santilli - 2006 - Journal of Aesthetics and Art Criticism 64 (1):147–156.
  28. added 2010-01-18
    Aesthetics and Subjectivity: From Kant to Nietzsche.Andrew Bowie - 2003 - Manchester University Press.
    This new, completely revised and re-written edition of Aesthetics and subjectivity brings up to date the original book's account of the path of German philosophy from Kant, via Fichte and Holderlin, the early Romantis, Schelling, Hegel, Schleimacher, to Nietzsche, in view of recent historical research and contemporary arguments in philosophy and theory in the humanities.
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  29. added 2010-01-18
    Subjectivity and Justification in Aesthetic Judgments.Guy Sircello - 1968 - Journal of Aesthetics and Art Criticism 27 (1):3-12.
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  30. added 2010-01-18
    Subjectivity in Aesthetics.H. G. Alexander - 1955 - Philosophical Quarterly 5 (21):329-341.
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  31. added 2010-01-18
    Subjectivity and the Aesthetic Use of Symbols (II).Denis Grey - 1951 - Australasian Journal of Philosophy 29 (3):164 – 174.
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  32. added 2010-01-18
    Subjectivity and the Aesthetic Use of Symbols (I).Denis Grey - 1951 - Australasian Journal of Philosophy 29 (2):98 – 108.
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