Aesthetics

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  1. The Value of Popular Music: An Approach From Post-Kantian Aesthetics.Theodore Gracyk - forthcoming - British Journal of Aesthetics:ayz036.
    The Value of Popular Music: An Approach from Post-Kantian AestheticsSTONEALISONPALGRAVE MACMILLAN. 2016. pp. 294. £29.99.
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    Aesthetic Cognition
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  2. Dancing with Time: The Garden as Art.Isis Brook - forthcoming - British Journal of Aesthetics:ayz039.
    Dancing with Time: The Garden as ArtPOWELLJOHNPETER LANG. 2019. pp. 204. £45.00.
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    Aesthetic Cognition
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  3. Merleau-Ponty and Nishida: "Interexpression" as Motor-Perceptual Faith.Adam Loughnane - 2017 - Philosophy East and West 67 (3):710-737.
    This essay places Nishida Kitarō in dialogue with Maurice Merleau-Ponty regarding motor-perceptual aspects underlying their theories of artistic expression. The analysis begins by comparing their interpretations of negation as articulated in their later works and seeks to understand their poetic renderings of artistic practice as proposing a mutual and reciprocal form of negation. By analyzing their conceptions of negation as implicit to their depictions of artistic expression, this essay looks to expand their concepts of negation from a perceptual to a (...)
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  4. Digital Art and Their Uniqueness Without Aura.Ahmad Ibrahim Badry & Akhyar Yusuf Lubis - 2018 - In Melani Budianta, Manneke Budiman, Abidin Kusno & Mikihiro Moriyama (eds.), Cultural Dynamics in Globalized World. London, UK: pp. 89-95.
    Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, stated (...)
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    Aesthetic Cognition
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     Aesthetic Attitudes
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  5. Negativität: Kunst - Recht - Politik.Thomas Khurana, Dirk Quadflieg, Juliane Rebentisch, Dirk Setton & Francesca Raimondi (eds.) - 2018 - Berlin: Suhrkamp.
    Gegen die verbreitete Vorstellung, dass Negativität im Interesse von mehr Selbstverwirklichung, Produktivität und Positivität überwunden oder be-grenzt werden muss, eröffnet dieser Band eine andere Perspektive. Er geht den verschiedenen Formen des Negativen in Kunst, Recht und Politik nach, um zu zeigen, dass es nicht allein eine Negativität gibt, die dem Gelingen im Weg steht oder zu dessen sicher beherrschtem Mittel wird. Die Beiträge des Bandes erweisen Negativität vielmehr als eine Kraft der Befreiung, die ein Gelingen anderer Art ermöglicht.
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    Aesthetic Cognition
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  6. The Aesthetic Significance of the Lying-Misleading Distinction.Jessica Pepp - forthcoming - British Journal of Aesthetics:ayz032.
    There is a clear intuitive difference between lying and attempting to mislead. Recent efforts to analyse this difference, and to define lying in ways that respect it, are motivated by the conviction that the difference is important or significant in some way. Traditionally, the importance of the lying-misleading distinction has been cashed out in moral terms, but this approach faces a number of challenges. The purpose of this paper is to suggest and develop a different way in which the lying-misleading (...)
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  7. Things: In Touch with the Past.Elizabeth Scarbrough - forthcoming - British Journal of Aesthetics:ayz037.
    Things: In Touch with the PastKorsmeyerCarolynOUP. 2019. PP. 224. £32.99.
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  8. Spelling Identity: Ch or Sz? (Translation).Stanisław Niewiadomski, Małgorzata A. Szyszkowska & Brian Harlen - 2000 - In Maja Trochimczyk (ed.), After Chopin. Essays in Polish Music.
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  9. On the 50th Anniversary of Chopin Death (Translation).Wojciech Żeleński, Brian Harlan & Małgorzata A. Szyszkowska - 2000 - In Maja Trochimczyk (ed.), After Chopin: Essays in Polish Music.
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  10. Ponowne spojrzenie na doświadczenie estetyczne (translation).Noel Carroll & Małgorzata A. Szyszkowska - 2006 - Sztuka I Filozofia (Art and Philosophy) 28:81-108.
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  11. O radykalnej niepewności lub myśl jako sobotwór (translation).Jean Baudrillard & Małgorzata A. Szyszkowska - 2006 - Sztuka I Filozofia (Art and Philosophy) 29:45-55.
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  12. O czym milczą tytuły (translation).Arnold Berleant & Małgorzata A. Szyszkowska - 2010 - Sztuka I Filozofia (Art and Philosophy) 37:118-127.
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  13. Zajmujacy Dewey: spóścizna estetyczna Johna Deweya (translation).Małgorzata A. Szyszkowska & Arnold Berleant - 2010 - Sztuka I Filozofia (Art and Philosophy) 37:59-70.
    translation of Arnold Berleant's "Engaging Dewey...".
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  14. "Jak porusza nas muzyka" (translation).Małgorzata A. Szyszkowska - 2015 - In Anna Chęćka-Gotkowicz (ed.), Peter Kivy i jego filozofia muzyki, ed. by A. Chęćka-Gotkowicz, M. Jabłoński. Poznań, Poland:
    translation of a chapter from Peter Kivy's Music Alone "How Music Moves".
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  15. W stronę heremeneutycznej estetyki muzycznej. [REVIEW]Małgorzata A. Szyszkowska - 2008 - Sztuka I Filozofia (Art and Philosophy) 32.
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  16. Filozofia, humanistyka i trudne pytania muzykologii. [REVIEW]Małgorzata A. Szyszkowska - 2016 - Sztuka I Filozofia (Art and Philosophy) 48.
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  17. Czy muzyka jest melancholijna.Małgorzata A. Szyszkowska - 1999 - Monochord 1 (23):61-75.
    Author discusses melancholy and music trying to find out what it means for a musical composition to be melancholic.
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  18. Aspekty słyszenia dźwięku w doświadczeniu estetycznym dzieła muzycznego.Małgorzata A. Szyszkowska - 2010 - In M. Ostrowicki (ed.), Materia muzyki. Kraków, Poland:
    Author refers to theories of mater and form, trying to find a way to establish the material grounds for musical sound. From Aristotle basic definition of physis author turns to Roger Scruton and his doubts whether what listeners hear as music, tone and even sound may be found among the physical things.
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  19. o wartościach moralnych, dziełach muzycznych i możliwości ich korelacji w nawiązaniu do filozofii Romana Ingardena.Małgorzata A. Szyszkowska - 2015 - Miscellanea Anthropologica Et Sociologica 3 (16):115-127.
    Autorka rozważa relacje między wartościami, szczególnie moralnymi, a dziełem muzycznym. Przedstawiając najpierw rozumienie wartości w filozofii Romana Ingardena, a następnie przywołując przykładowe sformułowania moralizmu w odniesieniu do muzyki (autorstwa Rogera Scrutona, Platona i Petera Kivy’ego), autorka pyta, czy możemy uważać dzieło muzyczne za nośnik wartości moralnych. Następnie badając, w jaki inny sposób dzieło muzyczne może być związane z wartościami moralnymi, autorka dochodzi do wniosku, że relacje między wartościami moralnymi a dziełem muzycznym należą do stosunków subtelnych i być może tym, co (...)
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  20. Pomiędzy muzyką a językiem. Figuralne i krytyczne w muzyce na przykładzie lyotardowskiej analizy Sequenza III Luciana Berio.Małgorzata A. Szyszkowska - 2016 - Aspekty Muzyki 6 (12):69-84.
    Autorka nawiązuje do artykułu J.F. Lyotarda „A Few Words to Sing” w której filozof podejmuje się analizy utworu Sequenza III Luciano Berio napisanego i śpiewanego przez Cathy Bereberian. „A Few Words to Sing” jest przykładem podejmowania przez Lyotarda tematów muzycznych „na granicy”. W tym konkretnym przypadku autorka sugeruje, że wspomniana analiza bardzo dobrze wpisuje się w postulowane przez Lyotarda kategorie figury oraz oddania głosu [ofierze] w opozycji wobec tego co [czysto]estetyczne (resisting the aesthetic). Zainteresowania muzyczne Lyotarda, być może nie tak (...)
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  21. The Listening Eye: Jean-Francois Lyotard and the Rehabilitation of Listening.Małgorzata A. Szyszkowska - 2016 - International Journal of Aesthetics and Philosophy of Culture 1 (1):39-58.
    The author points out to the rehabilitation of listening which occurs in Lyotard's philosophy in the field of his aesthetic analysis. The philosophical grasping of time and especially the instant is being explained in Lyotard through the listening mode and in invoking the aural experiences and the experiences of sound. The author suggests that the category of listening is often used in place of the category of aesthetic and as metaphor of the aesthetic perception. In contrast to seeing, listening can (...)
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  22. Muzyka jako proces i rozwój wewnętrzny w fenomenologicznych koncepcjach muzyki: Berleant, Dufrenne, Ingarden i Merleau-Ponty.Małgorzata A. Szyszkowska - 2017 - Meakultura.
    Music as perception and creation is processual in nature. Its nature is development, succession, dialogical processes of reaching out and harmonizing. Not one process, in fact, but many. Among these processes that make music, author would like to focus on a very specific process of human self development which occurs during listening to music (in any music experience). The entanglement of different ways, in which musical processes appear in the world, author feels, suggest reaching out for Maurice Merleau-Ponty's concept of (...)
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  23. Evaluating Musical Works: Bewteen Qualities, Values and Judgments with Roman Ingarden.Małgorzata A. Szyszkowska - 2017 - Interdisciplinary Studies in Musicology 8 (17):34-45.
    The practice of evaluating music and music works is widespread. That practice must depend on recognition of values and/or qualities in those works. However this be true it isn't always clear what these values and qualities are and how are the believes entrenched in theory and practice of evaluating musical works. In the aesthetics the most celebrated types of values are aesthetic values and qualities. Author of this paper reexamines the theory of aesthetic values as existing independently from artistic values (...)
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  24. Arthur Danto i kantowska koncepcja idei estetycznych.Małgorzata A. Szyszkowska - 2015 - In K. Kaśkiewicz & P. Schollenberger (eds.), Aktualność Kanta. Torun, Poland: pp. 185-197.
    Powracając do estetyki kantowskiej autorka przygląda się wypowiedziom Kanta i stara się prześledzić możliwe pożytki płynące z wprowadzonego przez niego pojęcia „idei estetycznych”. Zasugerowane zostały także możliwe związki pomiędzy tą [źródłową] ideą a koncepcjami estetyki Rogera Scrutona raz Robina G. Collingwooda i odpowiednio ich pomysłami dotyczącymi doświadczenia wyobrażeniowego (Collingwood) oraz rozumienia i poznania za pomocą wyobraźni (Scruton).
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  25. Piękno, które porusza.Małgorzata A. Szyszkowska - 2015 - In A. Chęćka-Gotkowicz & M. Jabłońsk (eds.), Peter Kivy i jego filozofia muzyki. Poznań, Poland: pp. 51-57.
    Author present Peter Kivy's understanding of music, its expressive powers and its unique status as a music alone. She explains the concept of being moved by music, which has been presented by Peter Kivy in his book Music Alone (Oxford University Press, 1990).
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  26. Zakryte, nieobecne, niejednoznaczne: uwagi na temat cielesności śpiewu i instrumentalnego rozumienia ciała w tradycjach wokalnychpczyk.Małgorzata A. Szyszkowska - 2017 - In J. Mikołajczyk (ed.), Ciało-muzyka-performans. Katowice, Poland: pp. 51-73.
    Referat wskazuje na trudną do ukazania w pełni relację między wykonawcą muzyki wokalnej a jego ciałem. Autorka sugeruje, że różnice w traktowaniu (nazywaniu, określaniu i ukazywaniu) roli ciała w tej relacji wynikają z kulturowych nawyków. Z łatwości bądź trudności w odwoływaniu się do ciała jako ważnego elementu ekspresji, produkcji i ugruntowania twórczości artystycznej w tym twórczości muzycznej. Odwołując się do trzech tradycji wokalnych, do wokalizy, improwizacji i zabawy muzycznej, w których ciało traktowane było zawsze jako element tworzenia muzyki, czy to (...)
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  27. Budowanie świata, trwanie w chwili. Opis estetycznego doświadczenia dzieła muzycznego w nawiązaniu do tekstów Alfreda Schutza i George'a Steinera.Małgorzata A. Szyszkowska (ed.) - 2018 - Warsaw, Poland: Wydawnictwa Akademi Muzycznej im. F. Chopina.
    Drawing on phenomenological literature author presents understanding of the aesthetic experience of the musical work pointing to several things: 1. the deep grounding of the experience in myth and Orphic tradition, 2. to the metaphor of building worlds and 3. to being in the moment as one of the most important description of the experience of musical work. Further on author underlines the dynamic as well as fickle character of the experience of musical work, suspended between the sensual audio experience (...)
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  28. Things as They Seem.Roger Scruton - 2019 - Philosophy 94 (3):461-471.
    I respond to the five papers of criticism in this issue of Philosophy. I argue that my cognitive dualism, which may be open to the theological objections levelled by Fiona Ellis, is vindicated by its ability to explain both freedom and inter-personal relations. I defend the inter-subjectivity of aesthetic judgment against Simon Blackburn's argument from ‘the acquaintance principle’, and my vision of cultural decline against the sceptical arguments of Samuel Hughes. The crucial role played by subjectivity in my fiction, discussed (...)
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  29. Art and Authority: Moral Rights and Meaning in Contemporary Art.Brian Soucek - forthcoming - British Journal of Aesthetics:ayz030.
    _Art and Authority: Moral Rights and Meaning in Contemporary Art_GOVERK. E.Oup. 2018. pp. 208. £40.00.
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  30. “I've Been Bad”: Using Light Verse in Teaching Philosophy.Felicia Nimue Ackerman - 2019 - Journal of Aesthetic Education 53 (3):3.
    In a 2017 article in The Providence Journal, local poet Christopher Johnson says poetry is "something I have to do."1 He adds, "In this political climate, where every group that doesn't identify as white, male and in power feels under attack by government, I have found my voice crying out against the machine more than usual. And I don't have a choice."2 He invokes the statement of singer, songwriter, and activist Nina Simone: "An artist's duty … is to reflect the (...)
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  31. Introduction to the Symposium on Using Poetry to Teach Philosophy.Michael Boylan - 2019 - Journal of Aesthetic Education 53 (3):1.
    The following essays were originally presented at the Eastern Meeting of the American Society of Aesthetics, April 28, 2017, in Philadelphia. I convened the session, which was well-received. There were two other members of the panel: Felicia Nimue Ackerman and Kelly Jolley. Each of us is a published poet.The focus of the session was the way we have used poetry in our teaching of philosophy. It has been my experience that most in the mainstream of philosophy do not use poetry (...)
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  32. Using Poetry to Teach Ethics.Michael Boylan - 2019 - Journal of Aesthetic Education 53 (3):14.
    There are challenges in teaching college ethics. Among the various challenges is getting students to become aware of the ethical theories that are widely recognized—such as utilitarianism, virtue ethics, deontology, and the antirealist theories.1 What is crucial in my forty years of teaching is that students need to discover a path toward being able to integrate ethics into their daily lives so that they might properly be able to take ownership of and responsibility for what they do.The first stop on (...)
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  33. A Cinematic Education: Remembrance of Films Past, or Mind Over Medium.Robert J. Cardullo - 2019 - Journal of Aesthetic Education 53 (3):71.
    I took another look at seven old American films recently, films I hadn't seen since they first came out. And I'm sorry I did.I had seen them for the first time at the Mayfair Theatre, an art-deco house in Miami, Florida, where I grew up. And perhaps my once-fond memories of the films I'm going to discuss, and which have become a permanent part of my cinematic education, are connected to the place where I first saw them—predictably, a place where (...)
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  34. Turning to Poetry for Help—Some Desultory Remarks.Kelly Dean Jolley - 2019 - Journal of Aesthetic Education 53 (3):26.
    What follows is talky—I skitter across a number of difficult topics much too quickly and with little attempt to defend what I say. I may be able to add some defense later in discussion, but I don't promise anything much and certainly nothing fancy. I am still very much in the process of thinking about these topics, and I aim to do no more than to perhaps nudge you to think about them too.By "poetry" in what follows, I typically mean (...)
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