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  1.  3
    The Philosophy of Mixed Martial Arts.Jeanette Bicknell - 2022 - Journal of Aesthetics and Art Criticism 80 (2):259-261.
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  2.  1
    Sculpture in Herder’s Naturalist Aesthetics.Whitney Davis - 2022 - Journal of Aesthetics and Art Criticism 80 (2):239-243.
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  3.  1
    Merely Methodological Naturalism in Aesthetics: A Proposed Revision of Zuckert’s Herder Interpretation.Naomi Fisher - 2022 - Journal of Aesthetics and Art Criticism 80 (2):224-228.
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  4.  3
    Art Scents: Exploring the Aesthetics of Smell and the Olfactory Arts.Cynthia Freeland - 2022 - Journal of Aesthetics and Art Criticism 80 (2):248-251.
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  5.  14
    Learning Implicit Biases From Fiction.Kris Goffin & Stacie Friend - 2022 - Journal of Aesthetics and Art Criticism 80 (2):129-139.
    Philosophers and psychologists have argued that fiction can ethically educate us: fiction supposedly can make us better people. This view has been contested. It is, however, rarely argued that fiction can morally “corrupt” us. In this article, we focus on the alleged power of fiction to decrease one's prejudices and biases. We argue that if fiction has the power to change prejudices and biases for the better, then it can also have the opposite effect. We further argue that fictions are (...)
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  6.  13
    Horror and Its Affects.Darren Hudson Hick - 2022 - Journal of Aesthetics and Art Criticism 80 (2):140-150.
    In this article, following a trajectory set out by Noël Carroll, Matt Hills, and Andrea Sauchelli, I propose a definition of horror, according to which something qualifies as a work of horror if and only if it centrally and demonstrably aims at provoking one or more of a particular set of negative affects. A catalog of characteristically negative affects is associated with horror—including terror, revulsion, the uncanny, and the abject—but which cannot be collapsed into any single affect. Further complicating matters (...)
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  7.  1
    What History Feels Like.Gregg M. Horowitz - 2022 - Journal of Aesthetics and Art Criticism 80 (2):229-233.
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  8.  2
    Resisting Tiny Heroes: Kant on the Mechanism and Scope of Imaginative Resistance.Morganna Lambeth - 2022 - Journal of Aesthetics and Art Criticism 80 (2):164-176.
    Traditionally, theorists suggested that imaginative resistance is limited to morally repugnant claims. More recently, theorists have argued that the phenomenon of imaginative resistance is wider in scope, extending to descriptive claims. On both sides, though, theorists have focused on cases where imaginative resistance goes right, tracking something that is wrong with the story—that it is morally repugnant, or conceptually contradictory. I use a rarely cited discussion from Kant to argue that imaginative resistance can also occur when something goes wrong with (...)
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  9.  59
    Paintings of Music.Michelle Liu - 2022 - Journal of Aesthetics and Art Criticism 80 (2):151-163.
    Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.
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  10.  2
    Aesthetics of the Narrative Climax in Contemporary TV Serials.Héctor J. Pérez - 2022 - Journal of Aesthetics and Art Criticism 80 (2):214-223.
    This article draws on concepts from cognitive psychology to explore the significance of the narrative climax, focusing on the final climax of the series The Americans as a case study. Two aspects of the aesthetic experience are considered: the special intensity that climaxes elicit, and the diversity of the cognitive content they generate, which can include both aesthetic and non-aesthetic properties. The climax is experienced in a state of absorption triggered by a set of strategies of temporal prolongation related to (...)
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  11.  5
    Guilty Pleasures Revisited.Melinda Reid - 2022 - Journal of Aesthetics and Art Criticism 80 (2):189-200.
    In 2007, Song-Ming Ang initiated Guilty Pleasures, a series of listening parties dedicated to sharing beloved “bad songs” and facilitating critical discussions about complex desires and hierarchies of taste. In this article, I extend on these discussions and offer a theory of guilty pleasures. Informed by queer and critical approaches to affect and minor aesthetic categories, I argue that guilty pleasures are characterized not by a specific medium or style, but rather by their ability to evoke pleasure interrupted by a (...)
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  12.  3
    Douglas Sirk: Filmmaker and Philosopher.Francey Russell - 2022 - Journal of Aesthetics and Art Criticism 80 (2):252-255.
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  13.  30
    Aesthetic Realism and Manifest Properties.Andrea Sauchelli - 2022 - Journal of Aesthetics and Art Criticism 80 (2):201-213.
    This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.
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  14.  3
    Supplementing Herder’s Naturalism: Expanding the Senses and Transcending Cultures.Jonathan M. Weinberg - 2022 - Journal of Aesthetics and Art Criticism 80 (2):234-238.
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  15.  1
    Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love.Mary Bittner Wiseman - 2022 - Journal of Aesthetics and Art Criticism 80 (2):255-258.
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  16.  1
    Author’s Reply for Herder’s Naturalistic Aesthetics.Rachel Zuckert - 2022 - Journal of Aesthetics and Art Criticism 80 (2):244-247.
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  17.  60
    Player Engagement with Games: Formal Reliefs and Representation Checks.Karl Egerton - 2022 - Journal of Aesthetics and Art Criticism 80 (1):95-104.
    Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has (...)
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  18.  2
    Nonfiction Theater.Susan L. Feagin - 2022 - Journal of Aesthetics and Art Criticism 80 (1):4-15.
    Are there nonfiction genres of theater scripts, just as there are nonfiction genres of film, such as documentary, and of literature, such as biography and history? I propose that there are, and that Verbatim Theater qualifies as a nonfiction theater genre. What sets it apart is that it is supposed to instruct performers not merely to reenact, or represent, a series of events, but overall to present evidence or arguments for a thesis, or for the audience to draw their own (...)
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  19.  2
    Predelli on Fictional Discourse.Manuel García-Carpintero - 2022 - Journal of Aesthetics and Art Criticism 80 (1):83-94.
    John Searle argues that fictions are constituted by mere pretense—by the simulation of representational activities like assertions, without any further representational aim. They are not the result of sui generis, dedicated speech acts of a specific kind, on a par with assertion. The view had earlier many defenders, and still has some. Stefano Predelli enlists considerations derived from Searle in support of his radical fictionalism. This is the view that a sentence of fictional discourse including a prima facie empty fictional (...)
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  20.  11
    Two Thumbs Up: How Critics Aid Appreciation.Keren Gorodeisky - 2022 - Journal of Aesthetics and Art Criticism 80 (1):116-120.
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  21.  2
    What Is Acting?Yuchen Guo - 2022 - Journal of Aesthetics and Art Criticism 80 (1):58-69.
    We can portray or take on the role of someone whom we are not. For example, a professional actor can play the role of a fictional character who does not exist in the real world, although she believes she is not that person. This behavior is named “acting.” My aim here is to locate the necessary and sufficient conditions of acting. In my view, acting is a process of communication between actors and audiences. One of its necessary components is that (...)
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  22.  2
    By What Criteria Are Pictorial Styles Individuated?Hoyeon Lim - 2022 - Journal of Aesthetics and Art Criticism 80 (1):31-41.
    In this article, I argue that pictorial styles are individuated in terms of different degrees of determinacy. For example, Morandi’s still-life etchings and Monet’s cathedral paintings embody different styles in that in the former, shape properties are differentiated in a fine-grained manner, and in the latter, coarse grained. I develop this view by critically examining John Kulvicki’s analysis of how we interpret pictures. According to Kulvicki, we rarely interpret pictures as differing in terms of features that belong to the vehicle (...)
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  23.  66
    The Role of Teleological Thinking in Judgments of Persistence of Musical Works.Elzė Sigutė Mikalonytė & Vilius Dranseika - 2022 - Journal of Aesthetics and Art Criticism 80 (1):42-57.
    In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in the (...)
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  24.  32
    What Makes Heavy Metal ‘Heavy’?Jason Miller - 2022 - Journal of Aesthetics and Art Criticism 80 (1):70-82.
    In this article, I raise a simple but surprisingly vexing question: What makes heavy metal heavy? We commonly describe music as “heavy,” whether as criticism or praise. But what does “heavy” mean? How is it applied as an aesthetic term? Drawing on sociological and musicological studies of heavy metal, as well as recent work on the aesthetics of rock music, I discuss the relevant musical properties of heaviness. The modest aim of this article, however, is to show the difficulty, if (...)
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  25.  8
    Arts of Address, Being Alive to Language and the World.Mariana Ortega - 2022 - Journal of Aesthetics and Art Criticism 80 (1):112-116.
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  26. 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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  27.  4
    Pluralism About Artwork Completeness.Guy Rohrbaugh - 2022 - Journal of Aesthetics and Art Criticism 80 (1):105-108.
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  28.  2
    A Philosopher Looks at Architecture.Fred Rush - 2022 - Journal of Aesthetics and Art Criticism 80 (1):109-112.
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  29.  5
    Attentional Engines: A Perceptual Theory of the Arts.Jonathan M. Weinberg - 2022 - Journal of Aesthetics and Art Criticism 80 (1):121-124.
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  30.  58
    Modelling Culinary Value.Patrik Engisch - 2022 - Journal of Aesthetics and Art Criticism (2):1-12.
    Culinary products have culinary value. That is, they have value qua culinary products. However, what is the nature of culinary value and what elements determine it? In the light of the central and universal role that culinary products play in our lives, offering a philosophical analysis of culinary value is a matter of interest. This paper attempts to do just this. It develops three different possible models of culinary value, two rather restricted ones and a third more encompassing one, rejects (...)
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