Results for 'Aesthetic concepts'

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  1.  89
    Aesthetic Concepts and Aesthetic Experiences.Derek Matravers - 1996 - British Journal of Aesthetics 36 (3):265-279.
    In this paper I want to return to some well-worn ideas; specifically, the attempt to show that there is a distinctive subject-matter of the aesthetic via consideration of the difference between aesthetic and non-aesthetic concepts. The classic exposition of this distinction is Frank Sibley's 'Aesthetic Concepts'. Sibley claimed that, given a set of relevant terms, there will be widespread non-collusive agreement as to which are aesthetic and which non-aesthetic. Non-aesthetic terms include (...)
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  2.  12
    Music, Metaphor, and Aesthetic Concepts.Nick Zangwill - 2014 - Journal of Aesthetics and Art Criticism 72 (1):1-11.
    The aesthetic realist interprets many descriptions of music as metaphorical descriptions of aesthetic properties of music. I argue that aesthetic realism requires that nonaesthetic words are used to express both aesthetic and nonaesthetic concepts. But having distinguished the concepts, some plausible account must be given of their relation. A causal account of the relation between the possession of aesthetic and nonaesthetic concepts provides this, since the concepts are distinct but connected. I (...)
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  3. Aesthetic Concepts: Essays After Sibley.Emily Brady & Jerrold Levinson (eds.) - 2001 - Oxford University Press.
    Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.
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  4.  23
    Tales of the Ineffable: Crafting Concepts in Aesthetic Experience.Joseph Thomas Tolliver - 2012 - Philosophical Studies 161 (1):153-162.
    Lehrer has argued that in having an aesthetic experience of an art work we come to have ineffable knowledge of what the art object is like. This knowledge is made possible by our ability to conceptualize the art object by means of a process Lehrer calls, "exemplarization", that involves using an experience to craft a general representation of that very experience. I suggest that exemplar concepts function as vehicles of ineffable representation only if they have two features: (i) (...)
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  5.  1
    Learning Aesthetic Concepts and Justifying Aesthetic Judgments.Phillip Montague - 1979 - Journal of Aesthetic Education 13 (1):45.
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  6. Aesthetic Concepts.Frank Sibley - 1959 - Philosophical Review 68 (4):421-450.
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  7.  13
    Aesthetic Implicitness in Sport and the Role of Aesthetic Concepts.Lesley Wright - 2003 - Journal of the Philosophy of Sport 30 (1):83-92.
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  8. Aesthetic Concepts: A Rejoinder.Frank Sibley - 1963 - Philosophical Review 72 (1):79-83.
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  9. Aesthetic Concepts: Some Fresh Considerations.Peter Kivy - 1979 - Journal of Aesthetics and Art Criticism 37 (4):423-432.
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  10. More on Aesthetic Concepts.J. F. Logan - 1967 - Journal of Aesthetics and Art Criticism 25 (4):401-406.
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  11.  85
    Thick Aesthetic Concepts.Roman Bonzon - 2009 - Journal of Aesthetics and Art Criticism 67 (2):191-199.
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  12. Sibley's "Aesthetic Concepts".H. R. G. Schwyzer - 1963 - Philosophical Review 72 (1):72-78.
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  13.  4
    Aesthetic Concepts: Essays After Sibley.Derek Matravers - 2002 - Mind 111 (444):912-916.
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  14. Frank Sibley's "Aesthetic Concepts".R. David Broiles - 1964 - Journal of Aesthetics and Art Criticism 23 (2):219-225.
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  15.  9
    Aesthetic Pleasure: Cognition and Emotion in the Aesthetic Concepts. Remarks After Sibley’s Works.Giulia Bonasio - 2014 - Rivista di Estetica 55:183-201.
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  16.  87
    Aesthetic Concepts.R. Meager - 1970 - British Journal of Aesthetics 10 (4):303-322.
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  17.  66
    Aesthetic Concepts: Essays After Sibley. [REVIEW]Aaron Meskin - 2004 - British Journal of Aesthetics 44 (1):90-93.
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  18. Aesthetic Concepts and Education.Ralph Alexander Smith (ed.) - 1970 - Urbana, University of Illinois Press.
  19.  42
    Review: Aesthetic Concepts: Essays After Sibley. [REVIEW]Derek Matravers - 2002 - Mind 111 (444):912-916.
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  20.  8
    Aesthetic Concepts and Education.Patricia Sloane - 1970 - Journal of Critical Analysis 2 (3):48-50.
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  21.  16
    Brady, Emily, and Jerrold Levinson, Eds. Aesthetic Concepts: Essays After Sibley.Ronald Hepburn - 2003 - Review of Metaphysics 56 (3):635-637.
  22.  28
    Sibley's "Aesthetic Concepts": An Ontological Mistake.Gary Stahl - 1971 - Journal of Aesthetics and Art Criticism 29 (3):385-389.
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  23.  5
    Japanese Aesthetic Concepts and Phenomenological Inquiry.Mark Meli - 2003 - Analecta Husserliana 78:243-252.
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  24.  18
    Secondary Senses and Aesthetic Concepts: A Reply to Professor Tilghman.Peter Kivy - 1981 - Philosophical Investigations 4 (1):35-38.
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  25.  16
    Aesthetic Theory in Plato and Aristotle J. G. Warry: Greek Aesthetic Theory. A Study of Callistic and Aesthetic Concepts in the Works of Plato and Aristotle. London: Methuen, 1962. Cloth, 18s. Net. [REVIEW]H. Ll Hudson-Williams - 1964 - The Classical Review 14 (01):33-34.
  26.  10
    The Logic of Aesthetic Concepts.Isabel C. Hungerland - 1962 - Proceedings and Addresses of the American Philosophical Association 36:43 - 66.
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  27.  2
    Greek Aesthetic Theory: A Study of Callistic and Aesthetic Concepts in the Works of Plato and Aristotle.I. M. Fowlie & J. G. Warry - 1964 - Philosophical Quarterly 14 (54):87.
  28. Some Remarks on Descriptive and Negative Aesthetic Concepts: A Critical Note.Ondřej Dadejík & Štěpán Kubalík - 2013 - Estetika 2:206-211.
     
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  29.  7
    Aesthetic Concepts--Essays After Sibley.E. Schellekens - 2002 - Australasian Journal of Philosophy 80 (4):536-538.
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  30.  1
    Aesthetic Concepts: Essays After Sibley.Emily Brady & J. Levinson - 2003 - Journal of Aesthetics and Art Criticism 61 (3):301-302.
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  31. Wittgenstein on Aesthetic Concepts.Rekha Jhanji - 1979 - Indian Philosophical Quarterly 6 (3):545.
     
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  32. Aesthetic Concepts And Aesthetic Experiences.Derek Matravers - 1996 - British Journal of Aesthetics 36 (3):265-277.
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  33. "Aesthetic Concepts and Education": Ralph A. Smith. [REVIEW]Sonia Rouve - 1972 - British Journal of Aesthetics 12 (2):195.
     
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  34.  3
    Thinking the Feminine: Aesthetic Practice as Introduction to Bracha Ettinger and the Concepts of Matrix and Metramorphosis.G. Pollock - 2004 - Theory, Culture and Society 21 (1):5-65.
    Bracha Ettinger is an Israeli-born Paris-based artist, analyst and feminist theorist who has produced over the last decade a major theoretical intervention through a tripartite practice. This article offers an expository introduction and overview of core aspects of her theoretical contribution while relating it to major trends in feminist and general cultural theory of subjectivity, hysteria, memory, trauma and the aesthetic. Organized in several parts, each section addresses the developing vocabulary, terminology and significance of her work. With core (...) are Matrix, metramorphosis, trans-subjectivity, co-poïesis, co-emergence and co-affection, Ettinger’s theory opens out beyond the blind spots of advanced feminist thought. From its independent and original theorization of subjectivity-as-encounter and an-other sexual difference, Bracha Ettinger challenges our attempts to think about femininity associated with the work of Julia Kristeva and Luce Irigaray. Linked to, but distinct from, the philosophical speculations of Deleuze and Levinas, this work creates a transferential theoretical space for Jewish and feminine difference, sexuality, subjectivity and the traumatic residues of modern catastrophe that has major repercussions for cultural, aesthetic, ethical, political and psychoanalytic theory. (shrink)
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  35.  4
    Exploring Contested Concepts for Aesthetic Literacy.Karen A. Hamblen - 1986 - Journal of Aesthetic Education 20 (2):67-76.
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  36. Ştefan Aug. Doinaş and Basarab Nicolescu, Epistolary Exchange and Aesthetic Transfiguration of Certain Transdisciplinary Concepts.Maria Chețan - 2015 - Human and Social Studies 4 (2):29-43.
    Ştefan Aug. Doinaş and Basarab Nicolescu, two great spirits related through the generosity of the humanist vision, met, held an epistolary dialogue and had common projects. Doinaş commented upon a few of the innovative concepts proposed by Basarab Nicolescu and he also aesthetically transfigured, in literary pages, certain concepts of transdisciplinarity.
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  37.  7
    An Aesthetic Grounding for the Role of Concepts in Experience in Kant, Wittgenstein and McDowell.Tim Thornton - 2007 - Forum Philosophicum: International Journal for Philosophy 12 (2):227-245.
  38.  2
    Concepts of Aesthetic Education: Japanese and European Perspectives ‐ Edited by Yasuo Imai and Christoph Wulf.Noboru Tanaka - 2007 - British Journal of Educational Studies 55 (4):482-483.
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  39. Henryk Elzenberg as a Forerunner of Anglo-American Concepts of Expression; Emotional Colouring as an Aesthetic Phenomenon.Krzysztof Guczalski - 2012 - Estetika:191-231.
     
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  40. Aesthetic Adjectives.Louise McNally & Isidora Stojanovic - 2014 - In James Young (ed.), The Semantics of Aesthetic Judgment. Oxford University Press.
    Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. (...)
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  41. A Portrait of the Artist as an Aesthetic Expert.Christy Mag Uidhir & Cameron Buckner - 2014 - In Gregory Currie, Matthew Kieran & Aaron Meskin (eds.), Aesthetics and the Sciences. Oxford University Press.
    For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the (...)
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  42. The Concept of an Aesthetic Property.De Clercq Rafael - 2002 - Journal of Aesthetics and Art Criticism 60 (2):167–176.
    This paper provides an analysis of the concept of an aesthetic property in non-aesthetic terms.
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  43.  15
    Thick Concepts.Brent G. Kyle - 2016 - Internet Encyclopedia of Philosophy.
    A term expresses a thick concept if it expresses a specific evaluative concept that is also substantially descriptive. It is a matter of debate how this rough account should be unpacked, but examples can help to convey the basic idea. Thick concepts are often illustrated with virtue concepts like courageous and generous, action concepts like murder and betray, epistemic concepts like dogmatic and wise, and aesthetic concepts like gaudy and brilliant. These concepts seem (...)
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  44.  97
    The Glass is Half Empty: A New Argument for Pessimism About Aesthetic Testimony.Daniel Whiting - 2015 - British Journal of Aesthetics 55 (1):91-107.
    Call the view that it is possible to acquire aesthetic knowledge via testimony, optimism, and its denial, pessimism. In this paper, I offer a novel argument for pessimism. It works by turning attention away from the basis of the relevant belief, namely, testimony, and toward what that belief in turn provides a basis for, namely, other attitudes. In short, I argue that an aesthetic belief acquired via testimony cannot provide a rational basis for further attitudes, such as admiration, (...)
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  45.  8
    Humour is a Funny Thing.Alan Roberts - 2016 - British Journal of Aesthetics 56 (4):355-366.
    This paper considers the question of how immoral elements in instances of humour affect funniness. Comic ethicism is the position that each immoral element negatively affects funniness and if their cumulative effect is sufficient, then funniness is eliminated. I focus on Berys Gaut’s central argument in favour of comic ethicism; the merited response argument. In this journal, Noël Carroll has criticized the merited response argument as illegitimately conflating comic merit with moral merit. I argue that the merited response argument, and (...)
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  46. Kant on the Transcendental Deduction of Space and Time: An Essay on the Philosophical Resources of the Transcendental Aesthetic.Melissa McBay Merritt - 2010 - Kantian Review 14 (2):1-37.
    I take up Kant's remarks about a " transcendental deduction" of the "concepts of space and time". I argue for the need to make a clearer assessment of the philosophical resources of the Aesthetic in order to account for this transcendental deduction. Special attention needs to be given to the fact that the central task of the Aesthetic is simply the "exposition" of these concepts. The Metaphysical Exposition reflects upon facts about our usage to reveal our (...)
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  47.  98
    The Inclusive Interpretation of Kant's Aesthetic Ideas.Samantha Matherne - 2013 - British Journal of Aesthetics 53 (1):21-39.
    In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of (...) ideas, according to which they can present not only moral and purely rational concepts but also empirical concepts and emotions related to our ordinary experience. Although this latter class of experience-oriented aesthetic ideas has been neglected, I argue that recognizing the role it plays in Kant’s account is crucial for understanding his views not only of artistic production and our experience of art but also of the value he takes art to have for our ordinary experience of the world, others, and our own selves. What is more, insofar as the inclusive interpretation brings to light Kant’s acknowledgement of the close connection between experience and art, it reveals that his overall view of art is more plausible than is often thought, and recommends it as worthy of further consideration. (shrink)
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  48.  67
    Why Sibley is Not a Generalist After All.Anna Bergqvist - 2010 - British Journal of Aesthetics 50 (1):1-14.
    In his influential paper, ‘General Criteria and Reasons in Aesthetics’, Frank Sibley outlines what is taken to be a generalist view (shared with Beardsley) such that there are general reasons for aesthetic judgement, and his account of the behaviour of such reasons, which differs from Beardsley's. In this paper my aim is to illuminate Sibley's position by employing a distinction that has arisen in meta-ethics in response to recent work by Jonathan Dancy in particular. Contemporary research involves two related (...)
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  49.  53
    Review of The Kantian Aesthetic: From Knowledge to the Avant-Garde. [REVIEW]Jennifer A. McMahon - 2011 - British Journal of Aesthetics 51 (2):229-231.
    Paul Crowther provides interpretations of key concepts in Kant’s Critique of Aesthetic Judgment, indicating (particularly in very informative footnotes) how his views compare with those of other Kant commentators such as Paul Guyer, Rachel Zuckert, Béatrice Longuenesse, Henry Allison, Donald Crawford, Robert Wicks and others. One might be inclined to ask whether yet another interpretation of Kant’s third critique was needed, yet compared to his other two critiques, Kant’s Critique of Judgment can still be regarded as the neglected (...)
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  50.  41
    Sibley on ‘Beautiful’ and ‘Ugly’.Andrea Sauchelli - 2014 - Philosophical Papers 43 (3):377-404.
    Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss (...)
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