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108 found
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1 — 50 / 108
  1. added 2018-08-13
    On Not Explaining Anything Away.Eran Guter & Craig Fox - 2018 - In Gabriele M. Mras, Paul Weingartner & Bernhard Ritter (eds.), Philosophy of Logic and Mathematics, Contributions to the 41st International Wittgenstein Symposium. Kirchberg am Wechsel, Austria: Austrian Ludwig Wittgenstein Society. pp. 52-54.
    In this paper we explain Wittgenstein’s claim in a 1933 lecture that “aesthetics like psychoanalysis doesn’t explain anything away.” The discussions of aesthetics are distinctive: Wittgenstein gives a positive account of the relationship between aesthetics and psychoanalysis, as contrasted with psychology. And we follow not only his distinction between cause and reason, but also between hypothesis and representation, along with his use of the notion of ideals as facilitators of aesthetic discourse. We conclude that aesthetics, like psychoanalysis, preserves the verifying (...)
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  2. added 2018-07-27
    Esquisse d’une critique de la raison humoristique.Daniel Schulthess - 2013 - Bulletin de la Société Française de Philosophie 107:36 p.
    Among the salient aspects of laughter; I retain its aptitude to administer a kind of punishment – albeit of a relatively mild character. Henri Bergson did not hesitate to adopt for himself the traditional formula that "laughter chastises the ways of life" (Laughter, I.2). I maintain that laughter, seen under this angle, simultaneously conveys an evaluation (commonly a depreciative one) and an immediately implemented punishment. This twofold nature makes of laughter a very specific kind of behavior. The starting point of (...)
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  3. added 2018-07-23
    "Ah ! comme c’est fin" : réflexions sur l’esthétique de l’humour.Daniel Schulthess - 2018 - In Petru Bejan & Daniel Schulthess (eds.), Le Beau – Actes du XXXVIe Congrès de l’Association des Sociétés de philosophie de langue française (ASPLF), Iaşi, 23-27 août 2016. Iaşi: Editura Universităţii A. I. Cuza. pp. 391-397.
    The article deals with the aesthetic dimension of humour. The author starts with Hannah Arendt’s distinction between labour as a set of tasks necessary for the reproduction of biological life and praxis as an expression of freedom. In the same way the humour would be detached from the “working communication” of everyday life. Humour represents a “break” with ordinary modes of communication. This is done through “transpositions”, which can take the form of objectual transpositions (which play on the equivocal references (...)
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  4. added 2018-04-27
    M-Reading: Fiction Reading From Mobile Phones.Anezka Kuzmicova, Theresa Schilhab & Michael Burke - 2018 - Convergence: The International Journal of Research Into New Media Technology:1–17.
    Mobile phones are reportedly the most rapidly expanding e-reading device worldwide. However, the embodied, cognitive and affective implications of smartphone-supported fiction reading for leisure (m-reading) have yet to be investigated empirically. Revisiting the theoretical work of digitization scholar Anne Mangen, we argue that the digital reading experience is not only contingent on patterns of embodied reader–device interaction (Mangen, 2008 and later) but also embedded in the immediate environment and broader situational context. We call this the situation constraint. Its application to (...)
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  5. added 2018-04-20
    Strange Tools: Art and Human Nature.Yuuki Ohta - 2018 - British Journal of Aesthetics 58 (1):101-105.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comThis is an ambitious and wide-ranging book. Here are some of its central claims. Human life is pervaded by ‘organized activities’, which are activities in which human agents interact with the environment and other agents, sometimes deliberatively but more typically semi-automatically, yet always intelligently and responsively, exercising the cognitive powers such agents are naturally endowed (...)
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  6. added 2018-03-24
    Pursuing Pankalia: The Aesthetic Theodicy of St. Augustine.A. G. Holdier - 2016 - In Benjamin McCraw & Robert Arp (eds.), The Problem of Evil: New Philosophical Directions. Lanham, MD: Lexington Books. pp. 69-83.
    This chapter summarizes Augustine’s often-neglected aesthetic theodicy that balances his metaphysical definitions of evil and human agency against the ultimately beautiful story Augustine sees God, as the author of all Creation, writing. First, Augustine’s neo-Platonic conception of evil as the “privation of goodness” is explained which effectively eliminates much of the apparent evil in the world under the guise of a preeminent God’s loving care of the Creation which He fashions as good, but is later corrupted. Secondly, Augustine’s conception of (...)
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  7. added 2018-03-05
    Estetická Skúsenosť Dnes. Skúmanie Somaestetiky Vo Vzťahu K Estetike Každodennosti a Estetike Environmentu.Adrián Kvokačka - 2015 - ESPES 4 (2):10-15.
    Title of the paper is the allusion to an article by Richard Shusterman. In the text, I trying to explore in the similar strategy the current state of aesthetic experience. Starting from The End of Aesthetic Experience I follow the notion of aesthetic experience which "will be strengthened and preserved the more it is experienced; it will be more experienced the more we are directed to such experience; and one good way of directing us to such experience is fuller recognition (...)
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  8. added 2018-01-19
    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 2017-11-19
    O Perfume em sua Possibilidades de ser uma Obra de Arte.Oscar José Zanardi - 2014 - Dissertation, UFSC, Brazil
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  10. added 2017-11-19
    O Estatuto do Artífice no Tratado 'Da Pintura' de Leon Battista Alberti.Karen Mylena de Gouvea Osera - 2014 - Dissertation, Unifesp, Brazil
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  11. added 2017-10-29
    Personal Ideals as Metaphors.Nick Riggle - 2017 - Journal of the American Philosophical Association 3 (3):265-283.
    What is it to have and act on a personal ideal? Someone who aspires to be a philosopher might imaginatively think “I am a philosopher” by way of motivating herself to think hard about a philosophical question. But doing so seems to require her to act on an inaccurate self-description, given that she isn’t yet what she regards herself as being. J. David Velleman develops the thought that action-by-ideal involves a kind of fictional self-conception. My aim is to expand our (...)
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  12. added 2017-09-30
    Über Grundbegriffe der Kunstwissenschaft.Emil Utitz - 1929 - Kant-Studien 34 (1-4):6-69.
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  13. added 2017-09-07
    What Is Art Good For? The Socio-Epistemic Value of Art.Aleksandra Sherman & Clair Morrissey - 2017 - Frontiers in Human Neuroscience 11.
    Scientists, humanists, and art lovers alike value art not just for its beauty, but also for its social and epistemic importance; that is, for its communicative nature, its capacity to increase one's self-knowledge and encourage personal growth, and its ability to challenge our schemas and preconceptions. However, empirical research tends to discount the importance of such social and epistemic outcomes of art engagement, instead focusing on individuals' preferences, judgments of beauty, pleasure, or other emotional appraisals as the primary outcomes of (...)
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  14. added 2017-08-30
    An Educational Perspective and a Poststructural Position on Everyday Aesthetics and the Creation of Meaning.Frederick Johannes Potgieter - 2017 - Journal of Aesthetic Education 51 (3):72-90.
    When one starts reading in the nascent field of everyday aesthetics of aestheticians from predominantly the Anglo-American sphere, it soon becomes apparent that some are attempting to carve out an academic niche for everyday aesthetics by defining it against art. I agree with Thomas Leddy, who has the following to say about the problem of philosophical definitions in general: “Although philosophical definition can be valuable, the process of creating a philosophical definition, insofar as it involves making strict distinctions, tends to (...)
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  15. added 2017-08-09
    Pastiche.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed. Oxford University Press. pp. 76-78.
    The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.
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  16. added 2017-08-08
    Parody.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd Ed. Oxford University Press. pp. 69-72.
    The term "parody" derives from the ancient Greek word parodia and has come to include a variety of meanings connected with correlative terms such as "pastiche," "quotation," "satire," and "allusion." At the present time, more than a few commentators are eager to discuss contemporary parody as an art form particularly relevant to our era. Most approaches share a basic foundation that treats parody as a complex multilayered type of imitation (sometimes referred to as intertextuality). Only some theorists, however, include a (...)
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  17. added 2017-08-08
    The Beauty of the Game.Peg Zeglin Brand Weiser & Myles Brand - 2007 - In Jerry Walls (ed.), Basketball and Philosophy. Lexington: The University Press of Kentucky. pp. 94-103.
    Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!
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  18. added 2017-03-10
    Stock, Kathleen and Katherine Thomson-Jones, Eds. New Waves in Aesthetics. New York: Palgrave Macmillan, 2008, Xix+269 Pp., $95.00 Cloth, $38.00 Paper.William Seeley - 2010 - Journal of Aesthetics and Art Criticism 68 (2):188-191.
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  19. added 2017-02-05
    ‘Mathematics of ballet‘ in the aesthetic component of the philosophical comprehension of dance.V. A. Erovenko - 2015 - Liberal Arts in Russia 4 (4):269-281.
    The article is devoted to aesthetic nature of the philosophy of dance as a rapidly developing area of studying. The aesthetic issues of choreographies in the cognitive context have not been properly studied. The mathematical component of the classical ballet, which is shown through the internal patterns of the expressiveness of the different types of dance movements in the system of artistic thinking, is analyzed in a wide range of the philosophical problems of art of dancing. The substantial triad of (...)
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  20. added 2017-01-25
    La expresión de lo cognoscible y los mundos posibles.Paulo Velez Leon - 2016 - In Jonas Rafael Becker Arenhart, Jaimir Conte & Cezar Augusto Mortari (eds.), Temas em filosofia contemporânea II. Florianópolis/SC, Brasil: Universidade Federal de Santa Catarina. pp. 64-74.
    La noción de mundos posibles, sostiene que nuestro mundo es un mundo entre otros, un subconjunto de todas las cosas que existen. Esto implica aceptar que existen mundos estructuralmente equivalentes con sus propios lenguajes [formales], que entre sí no tienen ningún estatuto privilegiado, p.e., el mundo y lenguaje del arte o el mundo y lenguaje de la física; no obstante, la idea de aceptar otros mundos equivalentes como mundos posibles epistémica y ontológicamente legítimos para acceder y expresar lo cognoscible del (...)
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  21. added 2017-01-05
    Toward an Epistemology of Art.Arnold Cusmariu - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (1):37-64.
    An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...)
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  22. added 2016-12-08
    The Ethics of Humor: Can Your Sense of Humor Be Wrong?Aaron Smuts - 2010 - Ethical Theory and Moral Practice 13 (3):333-347.
    I distill three somewhat interrelated approaches to the ethical criticism of humor: (1) attitude-based theories, (2) merited-response theories, and (3) emotional responsibility theories. I direct the brunt of my effort at showing the limitations of the attitudinal endorsement theory by presenting new criticisms of Ronald de Sousa’s position. Then, I turn to assess the strengths of the other two approaches, showing that that their major formulations implicitly require the problematic attitudinal endorsement theory. I argue for an effects-mediated responsibility theory , (...)
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  23. added 2016-12-08
    The Retrieval of the Beautiful: Thinking Through Merleau-Ponty's Aesthetics.Galen A. Johnson - 2009 - Northwestern University Press.
    In this elegant new study Galen Johnson retrieves the concept of the beautiful through the framework of Merleau-Ponty’s aesthetics. Although Merleau-Ponty seldom spoke directly of beauty, his philosophy is essentially about the beautiful. In Johnson’s formulation, the ontology of Flesh as element and the ontology of the Beautiful as elemental are folded together, for Desire, Love, and Beauty are part of the fabric of the world’s element, Flesh itself, the term at which Merleau-Ponty arrived to replace Substance, Matter, or Life (...)
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  24. added 2016-12-05
    Reflections on Imitation, Vocal Mimicry, and Entrainment.Anton Killin - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):81-87.
    It is my contention that understanding natural phenomena such as vocal mimicry can bolster theories of the evolution of language and music as well as inform evolutionary and naturalistic aesthetics more generally. In this commentary I present this phenomena as a case study in order to stimulate further aesthetic theorising.
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  25. added 2016-11-22
    (Re)Encountering Individuality: Schlegel's Romantic Imperative as a Response to Nihilism.Keren Gorodeisky - 2011 - Inquiry: An Interdisciplinary Journal of Philosophy 54 (6):567 - 590.
    According to Friedrich Schlegel: "The Romantic imperative demands [that] all nature and science should become art [and] art should become nature and science"; "[P]oetry and philosophy should be made unified?, and ?life and society [should be made] poetic". The aim of this paper is to explain why Schlegel believes that this is an imperative that constrains philosophy and ordinary life. I argue that the answer to this question requires that we regard the Romantic imperative as a response to the skeptical (...)
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  26. added 2016-10-27
    Aesthetic Judgements and Motivation.Alfred Archer - 2017 - Inquiry: An Interdisciplinary Journal of Philosophy 60 (6):1-22.
    Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from non-cognitivism in metaethics. One argument that is used to support metaethical non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting non-cognitivism. A tempting option, then, for those wishing (...)
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  27. added 2016-10-16
    On Aristotle's Concept of Improvisation.Andrew Haas - 2015 - Journal of Aesthetics and Phenomenology 2 (1):113-121.
    Improvisation is the origin of art and science, tragedy and comedy, acting and doing, of the self as improvising and improvised. But clearly we cannot use improvisation to explain improvisation. We cannot be satisfied with an argument that improvisation is, well, improvisational--nor simply free-play. Rather, improvisation as αὐτο-σχεδιάζεῖν, means self-schematization.
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  28. added 2016-09-17
    Wittgenstein on Musical Depth and Our Knowledge of Humankind.Eran Guter - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Palgrave-Macmillan. pp. 217-247.
    Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language and (...)
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  29. added 2016-08-03
    Rationally Agential Pleasure? A Kantian Proposal.Keren Gorodeisky - 2018 - In Lisa Shapiro (ed.), Pleasure: a History. Oxford University Press. pp. 167-194.
    The main claim of the paper is that, on Kant's account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, it has the following two features: (1) It is an affective responsiveness to the question: “what is to be felt disinterestedly”? As such, it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object. (2) Its actuality depends on endorsement: actually feeling it involves its endorsement as an (...)
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  30. added 2016-08-03
    19th Century Romantic Aesthetics.Keren Gorodeisky - 2016 - Stanford Encyclopedia of Philosophy.
    The entry aims to explain a core feature of otherwise different variants of romanticism: the commitment to “the primacy of aesthetics.” This commitment is often expressed by the claim that the “aesthetic”—most broadly that which concerns beauty and art—should permeate and shape human life. The entry proposes that this romantic imperative should be understood as a structural or formal demand. On that reading, the romantic imperative requires that we model our epistemological, metaphysical, ethical, political, social and scientific pursuits according to (...)
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  31. added 2016-08-02
    Cultivating an Urban Aesthetic.A. Berleant - 1986 - Diogenes 34 (136):1-18.
  32. added 2016-08-02
    A Note on the Problem on Defining `Art'.Arnold Berleant - 1964 - Philosophy and Phenomenological Research 25 (2):239-241.
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  33. added 2016-07-02
    Ontologia da Arte.António Lopes - 2013 - Compêndio Em Linha de Problemas de Filosofia Analítica.
    Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.
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  34. added 2016-06-10
    Gothic Ontology and Sympathy: Moving Away From the Fold.Lars Spuybroek - forthcoming - In Sjoerd Van Tuinen (ed.), Speculative Art Histories. Edinburgh University Press.
    This transcription of a keynote for the Speculative Art Histories conference in May 2013 is a mixture of the main argument of The Sympathy of Things and some new insights. The text might be helpful for those who have not read the Sympathy book, which has been sold out for a number of years. This essay will appear as a chapter in Sjoerd van Tuinen's Speculative Art Histories, to be published with Edinburgh University Press in 2017.
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  35. added 2016-04-15
    Music Culture.Eldonna L. May & Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  36. added 2016-04-15
    Oral Tradition.Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  37. added 2016-04-15
    Consumerism.Eldonna L. May & Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  38. added 2016-04-15
    Relativism, Cultural.Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  39. added 2016-04-15
    Hegemony.Eldonna L. May & Dustin Garlitz - 2014 - In William Forde Thompson (ed.), Music in the Social and Behavioral Sciences: An Encyclopedia. Sage Publications.
  40. added 2016-04-11
    Sobre o conceito de luz na metafísica neoplatónica.Tomás N. Castro - 2016 - CECS.
    In the resolution proclaiming 2015 the International Year of Light and Light-based Technologies, the General Assembly of the United Nations drew attention to the importance of light in the lives of the citizens of the world. This is of major importance, not only because light plays a crucial role in fields as diverse as arts, culture or technology, but also because ‘light’ is a major concept within the history of philosophy. Since the first Presocratic philosophers, light had an important role (...)
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  41. added 2016-03-25
    Against Aesthetic/Sensory Dependence.Jiri Benovsky - 2016 - Nordic Journal of Aesthetics 25 (51).
    In his book The Metaphysics of Beauty Nick Zangwill argues for the claim that aesthetic properties metaphysically necessarily depend on sensory properties. This claim plays a role in his argument against physicalist aesthetic realism as well as in the formulation of his own response- dependence view. In this article, I offer reasons to resist the aesthetic/ sensory dependence claim by a discussion of the case of theories, theorems, proofs, and similar theoretical objects, which do possess genuinely aesthetic properties, while these (...)
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  42. added 2016-03-04
    Art and Pornography: Philosophical Essays, Edited by H.Maes and J.Levinson. Oxford: Oxford University Press, 2012, 344 Pp. ISBN 978-0-19-960958-1 Hb £35. [REVIEW]Mari Mikkola - 2014 - European Journal of Philosophy 22 (S2):e15-e21.
  43. added 2016-02-29
    Pojęcie idealnej granicy w estetyce dzieła muzycznego Romana Ingardena.Małgorzata A. Szyszkowska - 2011 - Aspekty Muzyki 1:203-225.
    Summary: In this paper author maintains that the term “ideal border” used by Roman Ingarden several times in his writing on music perception has more to offer than its face value suggests. The term is ambiguous and in its first reading seems to imply that Ingarden's take on musical work is all but coherent. Yet author tries to show that the term itself if taken seriously in its various possible interpretations makes Ingarden's aesthetics of music more interesting and inspiring then (...)
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  44. added 2016-02-26
    Morality as Art: Dewey, Metaphor, and Moral Imagination.Steven Fesmire - 1999 - Transactions of the Charles S. Peirce Society 35 (3):527-550.
    [drawn from the later development of these ideas in ch. 6, "The Moral Artist," in John Dewey and Moral Imagination.] It is a familiar thesis that art affects moral imagination. But as a metaphor or model for moral experience, artistic production and enjoyment have been overlooked. This is no small oversight, not because artists are more saintly than the rest of us, but because seeing imagination so blatantly manifested gives us new eyes with which to see what can be made (...)
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  45. added 2016-02-25
    De l'expérience à l'être du poétique : une autre phénoménologie de Mikel Dufrenne.Jean-Baptiste Dussert - 2016 - In Jean-Baptiste Dussert & Adnen Jdey (eds.), Mikel Dufrenne et l’esthétique Entre phénoménologie et philosophie de la Nature. Presses Universitaires de Rennes. pp. 201-219.
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  46. added 2015-11-16
    Expressive Bodies.Donald A. Landes - 2015 - Research in Phenomenology 45 (3):369-385.
    _ Source: _Volume 45, Issue 3, pp 369 - 385 In “The Vestige of Art,” Jean-Luc Nancy argues that art is neither representation nor inscription, but rather _exscription_. The figure is the vestige of an expressive gesture; it represents neither a separable idea nor the one who traced it but, rather _exscribes_ their presence and their world in the event of expression. As such, Nancy’s aesthetics in _The Muses_ deploys a certain logic of expression best understood in the tradition of (...)
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  47. added 2015-10-13
    The Normativity of Humor.Matthew Kotzen - 2015 - Philosophical Issues 25 (1):396-414.
  48. added 2015-09-13
    Critical Hegemony and Aesthetic Acculturation.Adrian M. S. Piper - 1985 - Noûs 19 (1):29-40.
    There is a broad consensus, within the interlocking system of art institutions, on the goals viewed as worth achieving. Artists, for example, will strive to realize broadly formalist values in their work; critics will strive to discern and articulate the achievement of such values; dealers will strive to discover and promote artists whose work successfully reflects these standards; and collectors will strive to acquire and exchange such work.The long-range effect of this tightly defended consensus is that the art practitioners who (...)
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  49. added 2015-09-02
    What Is an Antique?Benjamin L. Curtis & Darrin Baines - 2016 - Journal of Aesthetics and Art Criticism 74 (1):75-86.
    Antiques are undoubtedly objects worthy of aesthetic appreciation, but do they have a distinctive aesthetic value in virtue of being antiques? In this article we give an account of what it is to be an antique that gives the thesis that they do have a distinctive aesthetic value a chance of being true and suggests what that distinctive value consists in. After introducing our topic in Section I, in Section II we develop and defend the Adjectival Thesis: the thesis that (...)
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  50. added 2015-09-02
    Art and Pornography: Philosophical Essays, Edited by H. Maes and J. Levinson. Oxford: Oxford University Press, 2012, 344 Pp. ISBN 978‐0‐19‐960958‐1 Hb £35. [REVIEW]Mari Mikkola - 2014 - European Journal of Philosophy 22 (S2):e15-e21.
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1 — 50 / 108