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  1. The Aesthetic Value of Film.Abel B. Franco - 2023 - The Journal of Aesthetic Education 57 (2):36-53.
    Abstract:I defend that the distinctive object of our aesthetic evaluation of films is the full emotional experience, taken as a unified whole, that we go through as we watch a film and that I call the viewer's film emotional life. The aesthetic value itself—the positive quality we perceive in the experience of having had a certain film emotional life—is in the significance we experience in that film emotional life insofar as it contributes to the discovery and the exploration of the (...)
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  2. What Makes Value Aesthetic?Antonia Peacocke - 2023 - Journal of Aesthetics and Art Criticism 81 (1):94-95.
    Aesthetic value is not as peculiar as we might think. We do not walk into museums expecting to find there a good so refined that it bears no continuity with the.
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  3. Aesthetic Value: The View from Here.Keren Gorodeisky - 2023 - Journal of Aesthetics and Art Criticism 81 (1):85-86.
    Engagements with aesthetic value pervade human life. We choose these shoes because they beautifully match the pants; travel to Petra on account of its beauty; o.
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  4. Engagement Account of Aesthetic Value.C. Thi Nguyen - 2023 - Journal of Aesthetics and Art Criticism 81 (1):91-93.
    I propose an account of aesthetic value, where aesthetic value lies in the process of aesthetic engagement: in our activity of perceiving, guiding our attention, interpreting, and otherwise wrestling with aesthetic objects. It also includes our social activities of engagement: arguing with each other, writing criticism, making top-ten lists. (This is a short summary of a view developed in greater detail elsewhere.).
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  5. Simple Theory of Aesthetic Value.James Shelley - 2023 - Journal of Aesthetics and Art Criticism 81 (1):98-100.
    This article aims to answer the aesthetic-value question.
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  6. Introduction: Symposium on Aesthetic Value.Robert Stecker & Theodore Gracyk - 2023 - Journal of Aesthetics and Art Criticism 81 (1):80-80.
    There is a resurgence of interest in aesthetic value. The models widely considered standard—sometimes lumped under the title aesthetic hedonism or aesthetic emp.
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  7. Big Tent Aesthetics.Dominic McIver Lopes - 2023 - Journal of Aesthetics and Art Criticism 81 (1):87-88.
    Theoretical work on aesthetic value has taken off in the past 5 or 10 years. Since work on artistic value dates at least as far back as the first debates about the interaction between artistic and other values, aesthetic value presumably differs from artistic value. Unlike artistic value, aesthetic value is found in art, but also in nature, design, and intellectual material, even philosophy (Lopes 2022a). Indeed, continued use of “aesthetic” as a synonym for “artistic” has held up work on (...)
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  8. Aesthetic Values Are Distal Versions of Practical Values.Tom Cochrane - 2022 - Journal of Aesthetics and Art Criticism 81 (1):83-84.
    I believe the first thing to say about value is that it is something that we do. We value things. There is no value out there independent of valuing beings. Thi.
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  9. Aesthetic Values in Everyday Life: Collaborating with the World through Action.Yuriko Saito - 2023 - Journal of Aesthetics and Art Criticism 81 (1):96-97.
    Aesthetic value cannot be discussed separately from aesthetic experience. According to Western aesthetics discourse, the paradigm of aesthetic experience is a s.
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  10. Notes on Aesthetic Value.Robert Stecker - 2023 - Journal of Aesthetics and Art Criticism 81 (1):103-104.
    Aesthetic experience and aesthetic value are intimately connected. There are some who think the connection has been overblown and has misled philosophers to mis.
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  11. Ambiguity of Aesthetic Value.Richard Shusterman - 2023 - Journal of Aesthetics and Art Criticism 81 (1):101-102.
    Rather than denoting a natural kind independent of changing human interests and cultural discourse, aesthetic value, as I understand it, is a vague, ambiguous.
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  12. Aesthetic Value as a Relational Value.Emily Brady - 2023 - Journal of Aesthetics and Art Criticism 81 (1):81-82.
    Aesthetic value is a kind of value that emerges out of a variety of relations with the world. My interest here is not in developing a theory of relational aesth.
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  13. The significance of Nichtigkeit in Schopenhauer’s account of the sublime.Patrick Hassan - 2023 - In David Bather Woods & Timothy Stoll (eds.), The Schopenhauerian Mind.
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  14. Sexual Desire and Its Relation to Schiller’s Theory of Aesthetic Value.Wesley De Sena -
    In this paper, I have constructed one likely relation between Schiller’s views on sexual desire and his general aesthetic value theory. I argue that beauty ennobles sexual desire when one rationally realizes that one did not choose to live in a state solely dominated by sexual desire. By allowing oneself to be in this state of aesthetic freedom, sexual desire grows into affection, and one experiences individual freedom. This thesis results from integrating Matherne and Riggle’s reconstruction of Schiller’s theory of (...)
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  15. Aesthetic Value and the Practice of Aesthetic Valuing.Nick Riggle - forthcoming - The Philosophical Review.
    A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is supposedly a matter of how it benefits an individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. (...)
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  16. The Comparative Achievement Explanation of Artistic Value.Ian D. Dunkle - forthcoming - Southern Journal of Philosophy.
    There is broad agreement in aesthetics that some artworks are greater than others despite bearing equivalent (or lesser) aesthetic value. One explanation of this difference in artistic value is that creation of the greater artwork represents a greater achievement. The aim of this article is to refine this explanation and to defend it against recent criticisms. First, I present a prima facie case in favor of the achievement explanation. Second, I draw on the history of photography to motivate three objections (...)
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  17. The Aesthetics of Crossword Puzzles.Robbie Kubala - forthcoming - British Journal of Aesthetics.
    This paper develops an aesthetics of crossword puzzles. I present a taxonomy of crosswords in the Anglophone world and argue that there are three distinct sources of aesthetic value in crosswords. First, and in common with other puzzles, crosswords merit aesthetic experiences of our own agency: paradigmatically, the aesthetic experience of struggling for and hitting upon the right solution. In addition to instantiating the aesthetic value of puzzles in general, crosswords in particular can have two other sources of aesthetic value: (...)
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  18. Neutrality, Cultural Literacy, and Arts Funding.Jack Hume - forthcoming - Ergo: An Open Access Journal of Philosophy.
    Despite the widespread presence of public arts funding in liberal societies, some liberals find it unjustified. According to the Neutrality Objection, arts funding preferences some ways of life. One way to motivate this challenge is to say that a public goods-styled justification, although it could relieve arts funding of these worries of partiality, cannot be argued for coherently or is, in the end, too susceptible to impressions of partiality. I argue that diversity-based arts funding can overcome this challenge, because it (...)
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  19. Nuevas tesis sobre los valores estéticos.José Ramón Fabelo Corzo - 2022 - In LA ESTÉTICA, EL ARTE Y SU REENCUENTRO CON LA ACADEMIA. Puebla México: Colección La Fuente. pp. 17-82.
    Las tesis que aquí se presentan han sido elaboradas a partir del análisis del ensayo de Jan Mukarovsky: “Función, norma y valor estético como hechos sociales”. (Cfr. Jan Mukarovsky. Escritos de estética y semiótica del arte, pp. 44-121). Las mismas han sido enriquecidas como resultado del debate que, generación tras generación, sobre ellas hemos sostenido con los estudiantes —la mayoría de ellos hoy egresados del posgrado en Estética y Arte de la BUAP—. Es un trabajo que lleva su huella y (...)
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  20. Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments.Michel-Antoine Xhignesse - 2023 - New York: Routledge.
    Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments is a teaching-focused resource, which highlights the contributions that imaginative scenarios—paradoxes, puzzles, and thought experiments alike—have made to the development of contemporary analytic aesthetics. The book is divided into sections pertaining to art-making, ontology, aesthetic judgements, appreciation and interpretation, and ethics and value, and offers an accessible summary of ten debates falling under each section. -/- Each entry also features a detailed annotated bibliography, making it an ideal companion for courses surveying a broad (...)
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  21. Aesthetic Value of the World.Shannon Brick - forthcoming - British Journal of Aesthetics.
    In The Aesthetic Value of the World, Tom Cochrane sets out to defend Aestheticism—the view that aesthetic value, and only aesthetic value, makes the world worth.
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  22. Authenticity as an aesthetic value: ancient and modern reflections.Irene Peirano - 2012 - In I. Sluiter & Ralph Mark Rosen (eds.), Aesthetic value in classical antiquity. Brill.
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  23. Audience, poetic justice, and aesthetic value in Aristotle's Poetics.Elsa Bouchard - 2012 - In I. Sluiter & Ralph Mark Rosen (eds.), Aesthetic value in classical antiquity. Brill.
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  24. The aesthetic value of music in Platonic thought.Eleonora Rocconi - 2012 - In I. Sluiter & Ralph Mark Rosen (eds.), Aesthetic value in classical antiquity. Brill.
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  25. Is the sublime an aesthetic value?James I. Porter - 2012 - In I. Sluiter & Ralph Mark Rosen (eds.), Aesthetic value in classical antiquity. Brill.
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  26. Aesthetic value in classical antiquity.I. Sluiter & Ralph Mark Rosen (eds.) - 2012 - Boston: Brill.
    Thinking about sensory experiences and evaluating human artifacts is an important part of Western European cultural and intellectual history. This book investigates from different perspectives the origins of this practice and the rich discourse of aesthetic value in classical antiquity.
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  27. Form and Content: A Defence of Aesthetic Value in Science.Alice Murphy - forthcoming - Philosophy of Science:1-26.
    Those who wish to defend the role of aesthetic values in science face a dilemma: Either aesthetic language is used metaphorically for what are ultimately epistemic features, or aesthetic language is used literally but it is difficult to see the importance of such values in science. I introduce a new account that gets around this problem by looking to an overlooked source of aesthetic value in science: the relation between form and content. I argue that a fit between the content (...)
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  28. Living fossils and conservation values.Derek Turner & Junhyung Han - 2023 - Frontiers in Earth Science 11.
    Horseshoe crabs (Limulus polyphemus) have been in decline in Long Island Sound, and recently there has been discussion of whether the state of Connecticut should stop issuing licenses for commercial harvesting. This paper argues that in spite of concerns about the living fossil concept, the fact that the horseshoe crabs are living fossils should count in favor of more stringent protection. The paper distinguishes four different views about the status of the living fossil concept: 1) eliminativism; 2) redefinition; 3) reframing; (...)
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  29. The Transformative Power of Literary Perspectives.Íngrid Vendrell-Ferran - forthcoming - Journal of Aesthetic Education.
    This paper employs the concept of “transformative experience” to develop a radical version of aesthetic cognitivism, according to which engaging with literary perspectives might lead the reader to experience not only an epistemic but also a personal transformation. It is argued that the reader’s imaginative and empathic abilities when subjected to the aesthetic norms that govern a literary work can mobilize other aspects of her psychology, eliciting in this way a change in her core values and, consequently, in the way (...)
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  30. Aesthetic value in the built environment.Eleri Lloyd - 2022 - Dissertation, Cardiff University
    Contemporary architects have a philosophical problem: how to justify the value of good design, specifically aesthetics, in an economy which favours the objective and quantifiable. Philosophy, however, has neglected serious engagement with the aesthetics of the built environment, despite widespread agreement within the architectural world that contemporary building is often ugly or bland. This thesis examines key philosophical issues in the crisis of aesthetics in architecture. Part One seeks a better understanding of what we mean by aesthetic value in the (...)
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  31. Artistic Exceptionalism and the Risks of Activist Art.Christopher Earley - forthcoming - Journal of Aesthetics and Art Criticism:1-12.
    Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their work to (...)
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  32. Art and Learning: A Predictive Processing Proposal.Jacopo Frascaroli - 2022 - Dissertation, University of York
    This work investigates one of the most widespread yet elusive ideas about our experience of art: the idea that there is something cognitively valuable in engaging with great artworks, or, in other words, that we learn from them. This claim and the age-old controversy that surrounds it are reconsidered in light of the psychological and neuroscientific literature on learning, in one of the first systematic efforts to bridge the gap between philosophical and scientific inquiries on the topic. The work has (...)
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  33. The Value of Aesthetic Value: Aesthetics, Ethics, and The Network Theory.Derek Matravers - 2021 - Disputatio 13 (62):189-204.
    The standard discussion of the relation between aesthetics and ethics tends to avoid the fundamental question: how are those two values ranked against each other in terms of importance. This paper looks at two arguments, the ‘resource allocation argument’ and the ‘relative weight argument’. It puts forward the view that any theory of aesthetic value should characterise aesthetic value in a way that allows for the existence of these arguments. It argues that hedonism does that successfully, but the more recent (...)
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  34. Aesthetic value in English, uzbek and tajik national cultures.Rakhmatova Mehriniso Musinovna - unknown
    Language plays indispensable role in understanding world picture of every nation. However, the problem of analyzing the expression of the concept of "beauty" in the language has not been studied from the point of view of cognitive linguistics and linguistic Culturology. Consequently, the aesthetic picture of the world in English, Uzbek and Tajik languages, the possibility of expressing and reflecting the concept of "beauty" on the phraseological and lexical tiers of the language, the interpretation of values in different cultures, comparative (...)
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  35. Philosophical An(n)ales: Laideur Abject Dégoût...comme une allergie à l’Autre (féminin).Marina Christodoulou - 2017 - In Bertrand Naivin & Lars Aagaard-Mogensen (eds.), Sur la laideur. [Actes du symposium On Ugliness, organizé par Lars Aagaard- Mogensen au Wassard Elea (Ascea, Italie) en juin 2016]. Paris, France: pp. 97-109.
    Citation: Christodoulou, Marina. “Philosophical An(n)ales: Laideur Abject Dégoût...comme une allergie à l’Autre (féminin),” (trans. Bertrand Naivin) in Sur la laideur. [Actes du symposium On Ugliness, organizé par Lars Aagaard- Mogensen au Wassard Elea (Ascea, Italie) en juin 2016], edited by d Bertrand Naivin and Lars Aagaard-Mogensen (Paris: Editions Complicités, 20178, 97-109. ISSN: 9782351201435 -/- -------------------- -/- Laideur Abject Dégoût ... comme une allergie à l’Autre (féminin) Sur l’art et l’esthétique sexués. -/- Pourquoi le dégoût est-il (ou peut-il être considéré) comme (...)
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  36. Naturästhetik.Zhuofei Wang - 2016 - In Handbuch Umweltethik. Stuttgart: Metzler Verlag. pp. 142-147.
  37. Markosian’s Sideways Music and Aesthetic Value Gluts.Jeremiah Joven B. Joaquin - 2022 - Acta Analytica 37 (3):431-439.
    In “Sideways Music”, Ned Markosian presents the aesthetic value variance of sideways music as a case against what the Spacetime Thesis—the thesis that time is one of four similar dimensions that make up spacetime. Critics have already raised worries about the premises of his argument. In this paper, I focus on Markosian’s assumed aesthetic realism. I argue that there is a version of aesthetic realism—a version that admits aesthetic value gluts—that is consistent with both the Spacetime Thesis and the aesthetic (...)
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  38. Why Aesthetic Value Judgements Cannot Be Justified.Tomáš Kulka - 2020 - Estetika: The European Journal of Aesthetics 46 (1):3–28.
    The article is part of a longer argument, the gist of which stands in direct opposition to the claim implied by the article’s title. The ambition of that larger whole is to offer a theory of art evaluation together with a theoretical model showing how aesthetic value judgements can be inter-subjectively tested and justified. Here the author therefore plays devil’s advocate by citing, strengthening, and inventing arguments against the very possibility of justification or explanation of aesthetic judgements. The reason is (...)
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  39. Aesthetic Insight: The Aesthetic Value of Damaged Environments.María José Alcaraz León - 2020 - Estetika: The European Journal of Aesthetics 50 (2):169.
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  40. Aesthetic Experience, Aesthetic Value.Jane Forsey - 2020 - Estetika: The European Journal of Aesthetics 54 (2):175–188.
    This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.
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  41. Existential Aesthetics.Hans Maes - 2022 - Journal of Aesthetics and Art Criticism 80.
    The aim of what I propose to call “existential aesthetics” is to investigate the various ways in which art and certain kinds of aesthetic practice or aesthetic experience can be of existential importance to people. Section I provides a definition of existential aesthetics, while Section II delineates this emerging field from cognate areas of research. Sections III and IV explore various subcategories and examples of existential aesthetics. Section V seeks to identify important avenues for future research and Section VI presents (...)
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  42. Intelligible Beauty.James Shelley - 2022 - Aristotelian Society Supplementary Volume 96 (1):147-164.
    Arthur Danto argued from the premiss that artworks are essentially cognitive to the conclusion that they are incidentally aesthetic. I wonder why Danto, and the very many of us he persuaded, came to believe that the cognitive and the aesthetic oppose one another. I argue, contrary to Danto’s historical claims, that the cognitive and the aesthetic did not come into opposition until the late nineteenth or early twentieth century, and that they were brought into opposition for reasons of art-critical expediency (...)
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  43. The Aesthetic Value of Literary Works in Roman Ingarden’s Philosophy.Hicham Jakha - 2022 - Kultura I Wartości (32):165-185.
    In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and ontology (...)
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  44. On the Wellbeing of Aesthetic Beings.Sherri Irvin - forthcoming - In Helena Fox, Kathleen Galvin, Michael Musalek, Martin Poltrum & Yuriko Saito (eds.), Oxford Handbook of Mental Health and Contemporary Western Aesthetics. Oxford University Press.
    As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...)
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  45. On the Relative Unimportance of Aesthetic Value in Evaluating Visual Arts.Tomas Kulka - 2022 - British Journal of Aesthetics 62 (1):63-79.
    Contrary to the received view according to which the value of works of art consists exclusively or primarily in their aesthetic value I argue that the importance of aesthetic value has been grossly overrated. In earlier publications I have shown that the assumption stipulating that the value of artworks consists exclusively in their aesthetic value is demonstrably wrong. I have suggested a conceptual distinction between the aesthetic and the artistic value arguing that when it comes to evaluation the artistic value, (...)
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  46. Toward a Communitarian Theory of Aesthetic Value.Nick Riggle - 2022 - Journal of Aesthetics and Art Criticism 80 (1):16-30.
    Our paradigms of aesthetic value condition the philosophical questions we pose and hope to answer about it. Theories of aesthetic value are typically individualistic, in the sense that the paradigms they are designed to capture, and the questions to which they are offered as answers, center the individual’s engagement with aesthetic value. Here I offer some considerations that suggest that such individualism is a mistake and sketch a communitarian way of posing and answering questions about the nature of aesthetic value.
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  47. Interpreting Art.Sam Rose - 2022 - London, UK: University College London Press.
    Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...)
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  48. The Truthful Portrait: Can Posing Be a Tool for Authenticity in Portraiture?Aurélie J. Debaene - 2021 - The Journal of Aesthetics and Art Criticism 79 (4):440-451.
    This article explores the compatibility of posing and authenticity in portraiture. Often understood as a source of inauthenticity, I propose that posing in fact functions as an artistic tool that can support a truthful portrayal. My argument first discusses authenticity in relation to portraiture through the lens of Bernard Williams’s idea of “truthfulness,” which relies on his notions of “accuracy” and “sincerity.” Second, I introduce a phenomenology of posing. I identify two aspects of posing that can be present in the (...)
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  49. Aesthetics of the Everyday.Sherri Irvin - 2009 - In Stephen Davies, Kathleen J. Higgins, Robert Hopkins, Robert Stecker & David Cooper (eds.), A Companion to Aesthetics. Wiley-Blackwell. pp. 136-139.
    This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.
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  50. Aesthetics as a Guide to Ethics.Sherri Irvin - 2010 - In Robert Stecker & Theodore Gracyk (eds.), Aesthetics Today: A Reader. Rowman and Littlefield. pp. 370-377.
    This paper argues for several claims about the moral relevance of the aesthetic: that attention to aesthetic values may promote moral motivation; that aesthetic values should be regarded as constraining moral demands; and that the pursuit of aesthetic satisfactions may itself have positive moral value. These arguments suggest that moral thinking should be aesthetically informed to a much greater degree than has been typical. The aesthetic is a central dimension of a good life, and a life’s being good for the (...)
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