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Profile: Arnold Berleant (Long Island University)
  1.  14
    The Aesthetics of Natural Environments.Allen Carlson & Arnold Berleant (eds.) - 2004 - Broadview Press.
    The Aesthetics of Natural Environments is a collection of essays investigating philosophical and aesthetics issues that arise in our appreciation of natural environments. The introduction gives an historical and conceptual overview of the rapidly developing field of study known as environmental aesthetics. The essays consist of classic pieces as well as new contributions by some of the most prominent individuals now working in the field and range from theoretical to applied approaches. The topics covered include the nature and value of (...)
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  2.  56
    Living in the Landscape: Towards an Aesthetics of Environment.Arnold Berleant - 1998 - Journal of Aesthetics and Art Criticism 56 (3):302-303.
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  3.  5
    The Aesthetics of Environment.Arnold Berleant - 1995 - Temple University Press.
    Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but is fully integrated and continuous with us, The Aesthetics of Environment explores the aesthetic dimensions of the human-environmental continuum in both theoretical terms and concrete situations. From outer space to the museum, from architecture to landscape, from city to countryside to wilderness, this book discovers in the (...)
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  4. The Sensuous and the Sensual in Aesthetics.Arnold Berleant - 1964 - Journal of Aesthetics and Art Criticism 23 (2):185-192.
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  5.  29
    Art and Engagement.Arnold Berleant - 1991 - Temple University Press.
    In this book Arnold Berleant develops a bold alternative to the eighteenth-century aesthetic of disinterestedness.
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  6. The Persistence of Dogma in Aesthetics.Arnold Berleant - 1994 - Journal of Aesthetics and Art Criticism 52 (2):237-239.
    By the close of the eighteenth century, many features of Western intellectual history had become incorporated into a coherent body of aesthetic doctrine that soon acquired the standing of tradition. "The three dogmas of aesthetics" is Allen Carlson's fitting designation of the main principles by which I have characterized this theory: that "art consists primarily of objects," that "these objects possess a special status," and that "they must be regarded in a unique way." Held against the practice and experience of (...)
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  7. Aesthetics and Environment: Variations on a Theme.Arnold Berleant - 2005 - Ashgate.
    I: Environmental aesthetics -- A phenomenological aesthetics of environment -- Aesthetic dimensions of environmental design -- Down the garden path -- The wilderness city : a study of metaphorical experience -- Aesthetics of the coastal environment -- The world from the water -- Is there life in virtual space? -- Is greasy lake a place? -- Embodied music -- II: Social aesthetics -- The idea of a cultural aesthetic -- The social evaluation of art -- Subsidization of art as social (...)
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  8. The Aesthetics of Environment.Arnold Berleant & Stephen Bourassa - 1994 - Environmental Values 3 (2):173-182.
     
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  9.  64
    The Historicity of Aesthetics — I.Arnold Berleant - 1986 - British Journal of Aesthetics 26 (2):101-111.
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  10. Reminiscences.Rudolf Arnheim, Charles Gauss, Richard Kuhns, Avrum Stroll, Selma Jeanne Cohen, Gordon Epperson, Arnold Berleant, Hilde Hein & Charles Hartshorne - 1993 - Journal of Aesthetics and Art Criticism 51 (2):279-289.
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  11.  31
    Environmental Sensibility.Arnold Berleant - 2014 - Studia Phaenomenologica 14:17-23.
    Aesthetics is fundamentally a theory of sensible experience. Its scope has expanded greatly from an initial centering on the arts and scenic nature to the full range of appreciative experience. Expanding the range of aesthetics raises challenging questions about the experience of appreciation. Traditional accounts are inadequate in their attempt to identify and illuminate the perceptual experiences that these new applications evoke. Considering the range of environmental and everyday occasions aesthetically changes aesthetics into a descriptive and not necessarily celebratory study (...)
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  12.  13
    Multinationals, Local Practice, and the Problem of Ethical Consistency.Arnold Berleant - 1982 - Journal of Business Ethics 1 (3):185 - 193.
    The business practices of multinational corporations raise many provocative moral issues and offer a touchstone for some fundamental ethical concepts. This essay identifies a wide range of problems but centers on the matter of consistency in corporate policy between foreign and domestic practices and the kind of generality of standards that is required to achieve consistency. Two considerations are singled out for illustrative discussion: wage scales and bribes. Proposals are offered for achieving consistency and generality in each case, the principle (...)
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  13. Re-Thinking Aesthetics Rogue Essays on Aesthetics and the Arts.Arnold Berleant - 2005
    The essays, collected by Berleant in this volume all express the impulse to reject the received wisdom modern aesthetics: that art demands a mode of experience sharply different from others and unique to the aesthetic situation, and that the identity of the aesthetic lies in keeping it distinct from other kinds of human experience, such as the moral, the practical, and the social. Berleant shows, on the contrary, that the value, the insight, the force of art and the aesthetic are (...)
     
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  14.  48
    The Soft Side of Stone.Arnold Berleant - 2007 - Environmental Philosophy 4 (1/2):49-58.
    Stone represents the firmness and intransigence of the world within which we live and act. But beyond the perception and appropriations of stone, diverse meanings lie hidden between the hardness of stone and its uses. At the same time meaning must be grounded in the stabilizing presence of a common world. Yet if all that can be said is not about stone simpliciter but only an aesthetics of its perception, uses, and meanings, have we not gained the whole world but (...)
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  15.  12
    Experience and Theory in Aesthetics.Arnold Berleant - 1986 - In Michael H. Mitias (ed.), Possibility of the Aesthetic Experience. Distributors for the U.S. And Canada, Kluwer Academic. pp. 91--106.
    From the earliest times art has been integral to human culture. Both fascinated and perplexed by the arts, people have tried, since the age of classical Greece, to understand how they work and what they mean. Philosophers wondered at first about the nature of art: what it is and how it relates to the cosmos. They puzzled over how art objects are created, and extolled human skills that seem at times godlike in their powers. But perhaps the central question for (...)
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  16.  12
    Some Questions for Ecological Aesthetics.Arnold Berleant - 2016 - Environmental Philosophy:123-135.
    Ecology has become a popular conceptual model in numerous fields of inquiry and it seems especially appropriate for environmental philosophy. Apart from its literal employment in biology, ecology has served as a useful metaphor that captures the interdependence of factors in a field of research. At the same time as ecology is suggestive, it cannot be followed literally or blindly. This paper considers the appropriateness of the uses to which ecology has been put in some recent discussions of architectural and (...)
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  17.  60
    Beyond Disinterestedness.Arnold Berleant - 1994 - British Journal of Aesthetics 34 (3):242-254.
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  18.  61
    The Historicity of Aesthetics - II.Arnold Berleant - 1986 - British Journal of Aesthetics 26 (3):195-203.
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  19.  9
    Some Questions for Ecological Aesthetics.Arnold Berleant - 2016 - Environmental Philosophy 13 (1):123-135.
    Ecology has become a popular conceptual model in numerous fields of inquiry and it seems especially appropriate for environmental philosophy. Apart from its literal employment in biology, ecology has served as a useful metaphor that captures the interdependence of factors in a field of research. At the same time as ecology is suggestive, it cannot be followed literally or blindly. This paper considers the appropriateness of the uses to which ecology has been put in some recent discussions of architectural and (...)
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  20.  20
    Introduction.Arnold Berleant & Allen Carlson - 1998 - Journal of Aesthetics and Art Criticism 56 (2):97-100.
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  21.  55
    Aesthetics and Environment Reconsidered: Reply to Carlson.Arnold Berleant - 2007 - British Journal of Aesthetics 47 (3):315-318.
    Allen Carlson finds three central problems in my book, Aesthetics and Environment: that it lacks a criterion of the aesthetic itself, that my proposal, aesthetic engagement, is excessively subjective, and that we cannot therefore distinguish between ‘easy’ and ‘serious’ beauty. I respond by uncovering the metaphysical assumptions on which his critique rests and offer more plausible alternatives. I argue, further, that their implications are not only acceptable but fully satisfactory.
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  22.  15
    A Rose by Any Other Name.Arnold Berleant - 2007 - Filozofski Vestnik 2 (2):151 - +.
    This is an essay on the tasks and capacities of aesthetic theory and the pitfalls that beset it. I want to show that aesthetics can be enlightening by revealing and studying the facets and dimensions of experiences we call aesthetic, experience that is expansive and revelatory. This kind of experience can also clarify the relation of aesthetics to other areas of knowledge, such as cultural studies, and conversely, the bearing of other disciplines on our aesthetic understanding. Aesthetic theory, however, is (...)
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  23. Art and Engagement.Arnold Berleant - 1992 - Journal of Aesthetics and Art Criticism 50 (2):160-162.
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  24.  42
    The Critical Aesthetics of Disney World.Arnold Berleant - 1994 - Journal of Applied Philosophy 11 (2):171-180.
    It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the last (...)
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  25.  2
    The Idea of a Cultural Aesthetic.Arnold Berleant - 2003 - Dialogue and Universalism 13 (11-12):113-122.
    In this time of increasing international involvement, one cannot but be struck by the fact of sharply different traditions concerning art and its practice.3 Recognizing that the arts are a salient part of every culture may lead us to wonder about their features and may make us curious about how and why the arts of other cultures differ from what we find more familiar. Perhaps we hope that the arts will offer us some insight into different cultures and their distinctive (...)
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  26.  11
    The Aesthetic Field: A Phenomenology of Aesthetic Experience.Arnold Berleant - 1970 - Journal of Aesthetics and Art Criticism 30 (1):125-128.
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  27.  17
    Aesthetics and Community.Arnold Berleant - 1994 - Journal of Value Inquiry 28 (2):257-272.
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  28.  14
    Art, Terrorism and the Negative Sublime.Arnold Berleant - 2009 - Contemporary Aesthetics 7.
    The range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism.
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  29.  27
    The Aesthetics of Architecture.Arnold Berleant - 1981 - Teaching Philosophy 4 (2):194-197.
  30.  14
    Does Art Have a Spectator?Arnold Berleant - 1987 - Journal of Aesthetics and Art Criticism 45 (4):411-412.
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  31.  33
    A Note on the Problem on Defining `Art'.Arnold Berleant - 1964 - Philosophy and Phenomenological Research 25 (2):239-241.
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  32.  16
    Reconsidering Scenic Beauty.Arnold Berleant - 2010 - Environmental Values 19 (3):335 - 350.
    Attempts to justify the objectivity and universality of aesthetic judgment have traditionally rested on unsupported assumptions or mere assertion. This paper offers a fresh consideration of the problem of judgments of taste. It suggests that the problem of securing universal agreement is false and therefore insoluble since it imposes an inappropriate logical criterion on the extent of agreement, which is irrevocably empirical. The variability of judgments of taste actually forms a subject ripe for inquiry by sociologists, psychologists, historians and anthropologists, (...)
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  33.  9
    V. Tejera's "Art and Human Intelligence". [REVIEW]Arnold Berleant - 1968 - Philosophy and Phenomenological Research 29 (2):307.
  34.  24
    Making Theory, Making Sense: Comments on Ronald Moore'sNatural Beauty.Arnold Berleant - 2009 - Ethics, Place and Environment 12 (3):337-341.
    The broad scope and coherence of Natural Beauty are among its major strengths. Moore's syncretic theory tries to integrate diverse and sometimes conflicting theoretical strands. Of special importance is his recognition that the natural world is a social institution embodying perceptions that are conditioned, experiences communicated through language, and social beliefs and conventions. These lead him to consider the natural world as actually artifactual, and he terms it the 'natureworld'. Among the consequences of this is the reciprocity of natural and (...)
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  35.  12
    Basic Issues In Aesthetics.Arnold Berleant - 1992 - Idealistic Studies 22 (3):222-223.
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  36. Andrew Light and Jonathan M. Smith, Eds., Philosophy and Geography I: Space, Place, and Environmental Ethics Reviewed By. [REVIEW]Arnold Berleant - 1997 - Philosophy in Review 17 (5):342-345.
     
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  37.  21
    Mothering and Metaphor.Arnold Berleant - 1999 - Journal of Aesthetics and Art Criticism 57 (3):363-365.
  38.  8
    Surrogate Theories of Art.Arnold Berleant - 1969 - Philosophy and Phenomenological Research 30 (2):163-185.
  39.  6
    The Muses.Arnold Berleant - 2003 - International Studies in Philosophy 35 (2):165-166.
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  40.  16
    On the Circularity of the Cogito.Arnold Berleant - 1966 - Philosophy and Phenomenological Research 26 (3):431-433.
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  41.  13
    The Verbal Presence: An Aesthetics of Literary Performance.Arnold Berleant - 1973 - Journal of Aesthetics and Art Criticism 31 (3):339-346.
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  42.  14
    Aesthetics and the Contemporary Arts.Arnold Berleant - 1970 - Journal of Aesthetics and Art Criticism 29 (2):155-168.
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  43.  5
    An Exchange on Disinterestedness.Arnold Berleant & Ronald Hepburn - 2003 - Contemporary Aesthetics 1.
    The idea of aesthetic disinterestedness has been a central concept in aesthetics since the late eighteenth century. This exchange offers a contemporary reconsideration of disinterestedness from different sides of the question.
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  44.  10
    Naturalism and Aesthetic Experience.Arnold Berleant - 1995 - Journal of Speculative Philosophy 9 (3):237 - 240.
    In my recent book, Art and Engagement (1991), I develop the idea of aesthetic engagement as central to the appreciation of art. The human contribution to the constitution of the "work" of art, I claim, is a critical part of appreciative experience. This contribution, however, is easily misread into the history of the idea of experience that has dominated Western philosophy since the seventeenth century, a history that sees experience as an inner, personal, subjective affair. From this vantage point, the (...)
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  45.  10
    The Experience & Judgment of Values.Arnold Berleant - 1967 - Journal of Value Inquiry 1 (1):24-37.
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  46.  3
    George P. Stein's "The Ways of Meaning in the Arts". [REVIEW]Arnold Berleant - 1973 - Philosophy and Phenomenological Research 34 (1):114.
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  47.  3
    Notes for a Phenomenology of Musical Performance.Arnold Berleant - 1999 - Philosophy of Music Education Review 7 (2):73-79.
    In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain (...)
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  48.  1
    Aesthetics and Environment Reconsidered: Reply to Carlson: Articles.Arnold Berleant - 2007 - British Journal of Aesthetics 47 (3):315-318.
    Allen Carlson finds three central problems in my book, Aesthetics and Environment : that it lacks a criterion of the aesthetic itself, that my proposal, aesthetic engagement, is excessively subjective, and that we cannot therefore distinguish between ‘easy’ and ‘serious’ beauty. I respond by uncovering the metaphysical assumptions on which his critique rests and offer more plausible alternatives. I argue, further, that their implications are not only acceptable but fully satisfactory.
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  49.  8
    The Social Postulate of Theoretical Ethics.Arnold Berleant - 1970 - Journal of Value Inquiry 4 (1):1-16.
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  50.  7
    Ethics and Science: Some Normative Facts and a Conclusion. [REVIEW]Arnold Berleant - 1977 - Journal of Value Inquiry 11 (4):244-258.
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