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  1. Ugliness Is in the Gut of the Beholder.Ryan P. Doran - 2022 - Ergo: An Open Access Journal of Philosophy 9 (5):88-146.
    I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...)
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  2. (4 other versions)Beauty.Jennifer Anne McMahon - 2022 - In The Oxford Encyclopedia of Literary Theory. UK: Oxford University Press. pp. 86-101.
    Literary beauty was once understood as intertwining sensations and ideas, and thus as providing subjective and objective reasons for literary appreciation. However, as theory and philosophy developed, the inevitable claims and counterclaims led to the view that subjective experience was not a reliable guide to literary merit. Literary theory then replaced aesthetics as did philosophy’s focus on literary truth. Along with the demise of the relevance of sensations, literary form also took a back seat. This suggested to some that either (...)
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  3. 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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  4. When True Judges Differ: Reply to Durà‐Vilà.James Shelley - 2015 - Journal of Aesthetics and Art Criticism 73 (3):345-348.
    I defend my reading of Hume's "Of the Standard of Taste" against objections raised by Victor Durà‐Vilà. Two points are central to my defense. One is that Hume takes the joint verdict of true judges to indicate, rather than constitute, the standard of beauty. Two is that Hume requires a joint verdict because individual verdicts need not be expressive of human nature.
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  5. How does inclusive design relate to good design? Designing as a deliberative enterprise.Ann Heylighen & Matteo Bianchin - 2013 - Design Studies 34 (1):93-110.
    Underlying the development of inclusive design approaches seems to be the assumption that inclusivity automatically leads to good design. What good design means, however, and how this relates to inclusivity, is not very clear. In this paper we try to shed light on these questions. In doing so, we provide an argument for conceiving design as a deliberative enterprise. We point out how inclusivity and normative objectivity can be reconciled, by defining the norm of good design in terms of a (...)
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  6. Hume and the Joint Verdict of True Judges.James Shelley - 2013 - Journal of Aesthetics and Art Criticism 71 (2):145-153.
    Malcolm Budd speaks for many when he locates the "principal weakness" of Hume's account of the standard of taste in Hume's "blithe optimism about the uniformity of response of his true judges of artistic value". I argue that Hume's optimism is not blithe. I argue, in particular, that it follows from Hume's definition of a true judge that true judges will never disagree, and that it follows from his appeal to the test of time that true judges will agree often (...)
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  7. Explorations of Universal Order and Beauty in Paul Hindemith's Symphony Die Harmonie der Welt.Siglind Bruhn - 2010 - Nordic Journal of Aesthetics 21 (39).
    On 11 August 1957, the Munich Opera Festival premiered a recently completed opera by the celebrated German composer Paul Hindemith, Die Harmonie der Welt. Hindemith bases the dramaturgical and musical features of this opera on the scientific and spiritual content found in the writings of the 17th-century mathematician, astronomer and philosopher Johannes Kepler. Six years before he started working on this opera, the composer responded to a commission received from the Swiss conductor and patron of contemporary composers, Paul Sacher, by (...)
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  8. Arts, language and hermeneutical aesthetics: Interview with Paul Ricoeur (1913-2005).R. D. Sweeney - 2010 - Philosophy and Social Criticism 36 (8):935-951.
    Responding to the interlocutors, Ricoeur, utilizing Kantian aesthetic theory, addresses the nature of the work of art, its universality and communicability, and explores its temporality — its ‘transhistoricity’ — by utilizing concepts derived from medieval philosophy, including ‘sempiternality’ and ‘monstration’. He expands on hermeneutics, defends it against charges of relativism, expatiates on the danger of aestheticism, and explains the value of mimesis in art. He explores the different art forms, focusing with Merleau-Ponty on Cézanne as a model of the ‘ipseity’ (...)
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  9. 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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  10. The Problem of Free Harmony in Kant's Aesthetics.Kenneth F. Rogerson - 2008 - State University of New York Press.
  11. 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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  12. Kant on the normativity of taste: The role of aesthetic ideas.Andrew Chignell - 2007 - Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...)
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  13. Kant's Rationalist Aesthetics.Rachel Zuckert - 2007 - Kant Studien 98 (4):443-463.
    It is quite standard, even banal, to describe Kant's project in the Critique of Pure Reason [KrV] as a critical reconciliation of rationalism and empiricism, most directly expressed in Kant's claim that intuitions and concepts are two distinct, yet equally necessary, and necessarily interdependent sources of cognition. Similarly, though Kant rejects both the rationalist foundation of morality in the concept of perfection and that of the empiricists in feeling or in the moral sense, one might broadly characterize Kant's moral philosophy (...)
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  14. A Gadamerian Critique of Kuhn’s Linguistic Turn: Incommensurability Revisited.Amani Albedah - 2006 - International Studies in the Philosophy of Science 20 (3):323 – 345.
    In this article, I discuss Gadamer's hermeneutic account of understanding as an alternative to Kuhn's incommensurability thesis. After a brief account of Kuhn's aesthetic account and arguments against it, I argue that the linguistic account faces a paradox that results from Kuhn's objectivist account of understanding, and his lack of historical reflexivity. The statement 'Languages are incommensurable' is not a unique view of language, and is thus subject to contest by incommensurable readings. Resolving the paradox requires an account of incommensurability (...)
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  15. Aesthetic judgment and perceptual normativity.Hannah Ginsborg - 2006 - Inquiry: An Interdisciplinary Journal of Philosophy 49 (5):403 – 437.
    I draw a connection between the question, raised by Hume and Kant, of how aesthetic judgments can claim universal agreement, and the question, raised in recent discussions of nonconceptual content, of how concepts can be acquired on the basis of experience. Developing an idea suggested by Kant's linkage of aesthetic judgment with the capacity for empirical conceptualization, I propose that both questions can be resolved by appealing to the idea of "perceptual normativity". Perceptual experience, on this proposal, involves the awareness (...)
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  16. Thinking the particular as contained under the universal.Hannah Ginsborg - 2006 - In Rebecca Kukla (ed.), Aesthetics and Cognition in Kant's Critical Philosophy. New York: Cambridge University Press.
    In a well-known passage from the Introduction to Kant’s Critique of Judgment, Kant defines the power or faculty of judgment [Urteilskraft] as "the capacity to think the particular as contained under the universal" (Introduction IV, 5:179).1 He then distinguishes two ways in which this faculty can be exercised, namely as determining or as reflecting. These two ways are defined as follows: "If the universal (the rule, the principle, the law) is given, then judgment, which subsumes the particular under it... is (...)
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  17. Ellen Dissanayake’s Evolutionary Aesthetic.Stephen J. Davies - 2005 - Biology and Philosophy 20 (2-3):291-304.
    Dissanayake argues that art behaviors – which she characterizes first as patterns or syndromes of creation and response and later as rhythms and modes of mutuality – are universal, innate, old, and a source of intrinsic pleasure, these being hallmarks of biological adaptation. Art behaviors proved to enhance survival by reinforcing cooperation, interdependence, and community, and, hence, became selected for at the genetic level. Indeed, she claims that art is essential to the fullest realization of our human nature. I make (...)
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  18. The Riddle of aesthetic principles.Vojko Strahovnik - 2004 - Acta Analytica 19 (33):189-208.
    The problem of aesthetic principles and that of the nature of aesthetic reasons get confronted. If aesthetic reasons play an important role in our aesthetic evaluations and judgments, then both some general aesthetic principles and rules could support them (aesthetic generalism) or again their nature may be particularistic (aesthetic particularism). A recent argument in support of aesthetic generalism as proposed by Oliver Conolly and Bashshar Haydar is presented and criticized for its misapprehension of particularism. Their position of irreversible aesthetic generalism (...)
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  19. Kant, quasi-realism, and the autonomy of aesthetic judgement.Robert Hopkins - 2001 - European Journal of Philosophy 9 (2):166–189.
    Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one's mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...)
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  20. (1 other version)Aesthetic universals.Denis Dutton - 2000 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. New York: Routledge. pp. 203--214.
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  21. (1 other version)Response to Victor H. Mair's review of "of birds, beasts, and other artists: An essay on the universality of art".Ben-Ami Scharfstein - 1991 - Philosophy East and West 41 (1):89-92.
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  22. (1 other version)Understanding works of art: Universality, unity and uniqueness.Petra von Morstein - 1982 - British Journal of Aesthetics 22 (4):350-362.
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  23. The meaning of universal validity in Kant's aesthetics.Kenneth F. Rogerson - 1981 - Journal of Aesthetics and Art Criticism 40 (3):301-308.
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  24. The Paradox of the Universal in Art.Hubert G. Alexander - 1974 - Southwestern Journal of Philosophy 5 (1):49-58.
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  25. Is a universal science of aesthetics possible?Archie J. Bahm - 1972 - Journal of Aesthetics and Art Criticism 31 (1):3-7.
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  26. Avanindranath Tagore's concept of aesthetic universality.S. K. Nandi - 1959 - Journal of Aesthetics and Art Criticism 18 (2):255-257.
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  27. Nationalism, internationalism, and universality in literature.Joseph Remenyi - 1946 - Journal of Aesthetics and Art Criticism 5 (1):44-49.
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  28. Spinoza’s Ethics.Irfan Ajvazi - manuscript
  29. (1 other version)I. is art purely cultural or does it centrally involve a biological component?Stephen Davies - unknown
    Dissanayake is an ethologist. She is interested in human behavioral predispositions that are universal and innate because they have proved to enhance survival, which is defined as reproductive success (1995:36, 2000:21), and, hence, became selected for at the genetic level. Such behaviors must date back at least to the late Pleistocene (20,000 years ago) since it is then that human biological evolution reached its present condition. Subsequent changes involved cultural evolution, a predisposition that is itself based on evolutionary characteristics of (...)
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