Results for 'aesthetic adjectives'

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  1. Aesthetic Adjectives: Experimental Semantics and Context-Sensitivity.Shen-yi Liao & Aaron Meskin - 2017 - Philosophy and Phenomenological Research 94 (2):371–398.
    One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central (...)
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  2. 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 (...). We show that there are, in fact, good motivations for keeping PPTs and aesthetic predicates apart: the semantic structure of the former, but not the latter, entails an experiencer. There are many adjectives whose semantic structure arguably also entails an experiencer, yet which are readily used in expressing aesthetic judgments. Adjectives such as provocative or moving are a case in point, since as adjectives they arguably maintain the experiencer argument from the verb they are derived from. Nevertheless, when we describe, say, a sculpture as provocative, or a theater performance as moving, we clearly make aesthetic judgments. The difficult question, then, is to articulate the relationship between an aesthetic predicate (of which beautiful and ugly are paradigms) and other predicates that just happen to be used in making an aesthetic judgment. Tightly related to this point is the more general question of the relationship between an evaluative predicate and a predicate that occurs in an evaluative judgment. One of our aims is to make some progress in addressing these questions. (shrink)
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  3. Aesthetic Adjectives Lack Uniform Behavior.Shen-yi Liao, Louise McNally & Aaron Meskin - 2016 - Inquiry : An Interdisciplinary Journal of Philosophy 59 (6):618-631.
    The goal of this short paper is to show that esthetic adjectives—exemplified by “beautiful” and “elegant”—do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  4.  44
    Expressing Aesthetic Judgments in Context1.Isidora Stojanovic - 2016 - Inquiry : An Interdisciplinary Journal of Philosophy 59 (6):663-685.
    Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.
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  5.  91
    The Aesthetic Peculiarity of Multifunctional Artefacts.Rafael De Clercq - 2005 - British Journal of Aesthetics 45 (4):412-425.
    Echoing a distinction made by David Wiggins in his discussion of the relation of identity, this paper investigates whether aesthetic adjectives such as ‘beautiful’ are sortal-relative or merely sortal-dependent. The hypothesis guiding the paper is that aesthetic adjectives, though probably sortal-dependent in general, are sortal-relative only when used to characterize multifunctional artefacts. This means that multifunctional artefacts should be unique in allowing the following situation to occur: for some object x there are sortals K and K' (...)
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  6.  31
    Wittgenstein on “Beautiful” and “The Beautiful”.Gabriele Tomasi - 2013 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1):115-137.
    In an entry in his Notebooks 1914-1916 Wittgenstein appears to give some credit to the idea widespread in modern aesthetics that «the end of art is the beautiful »: «[…] there is certainly something» – he writes – in this conception. And he comments on: «[…] the beautiful is what makes happy » (NB 21.10.16). Maybe influenced by Tolstoy, who wrote that «people will come to understand the meaning of art only when they cease to consider that the aim of (...)
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    The Lover of the Beautiful and the Good: Platonic Foundations of Aesthetic and Moral Value.John Martin - 2008 - Synthese 165 (1):31-51.
    Though acknowledged by scholars, Plato’s identification of the Beautiful and the Good has generated little interest, even in aesthetics where the moral concepts are a current topic. The view is suspect because, e.g., it is easy to find examples of ugly saints and beautiful sinners. In this paper the thesis is defended using ideas from Plato’s ancient commentators, the Neoplatonists. Most interesting is Proclus, who applied to value theory a battery of linguistic tools with fixed semantic properties—comparative adjectives, associated (...)
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  8.  43
    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 (...)
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    What Is a "Work of Art"?Ruth Saw - 1961 - Philosophy 36 (136):18 - 29.
    This examination of the concept “work of art” has been prompted by the desire to find a starting point for aesthetic inquiry which, to begin with at any rate, will arouse no dispute. A claim for general agreement such as Clive Bell's: “The starting point for all systems of aesthetics must be the personal experience of a pecular emotion”, is countered by I. A. Richards's “the phantom aesthetic state”, and any attempt to claim “beauty” as the central concept (...)
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    What is a “Work of Art”?Ruth Saw - 1961 - Philosophy 36 (136):18.
    This examination of the concept “work of art” has been prompted by the desire to find a starting point for aesthetic inquiry which, to begin with at any rate, will arouse no dispute. A claim for general agreement such as Clive Bell's: “The starting point for all systems of aesthetics must be the personal experience of a pecular emotion”, is countered by I. A. Richards's “the phantom aesthetic state”, and any attempt to claim “beauty” as the central concept (...)
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  11. Grounding Moralism: Moral Flaws and Aesthetic Properties.Aaron Smuts - 2011 - Journal of Aesthetic Education 45 (4):34-53.
    My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral flaws with an (...)
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  12.  38
    Aesthetic Rationality.Keren Gorodeisky & Eric Marcus - forthcoming - Journal of Philosophy.
    We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. To explain an action or belief by citing someone’s reason is to state a factor in virtue of whose support the action was performed or the proposition believed. But aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but rather on whether an object is to (...)
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  13. The Acquaintance Principle, Aesthetic Judgments, and Conceptual Art.Andrea Sauchelli - 2016 - Journal of Aesthetic Education 50 (1):1-15.
    The Acquaintance Principle is the principle according to which judgements concerning the aesthetic value of a work of art proffered by a critic must be based on the critic’s experience(s) or acquaintance with the work itself. The possible exception to this principle would be experiences obtained through other means of transmissibility, related in a particular way to the work in question, that can eventually provide the critic with an adequate basis for judging the artwork. However, recent philosophers claimed that (...)
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  14. Critical Aesthetic Realism.Jennifer A. McMahon - 2011 - Journal of Aesthetic Education 45 (2):49-69.
    A clear-cut concept of the aesthetic is elusive. Kant’s Critique of Judgment presents one of the more comprehensive aesthetic theories from which we can extract a set of features, some of which pertain to aesthetic experience and others to the logical structure of aesthetic judgment. When considered together, however, these features present a number of tensions and apparent contradictions. Kant’s own attempt to dissolve these apparent contradictions or dichotomies was not entirely satisfactory as it rested on (...)
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    New Prospects for Aesthetic Hedonism.Mohan Matthen - forthcoming - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. London: Routledge.
    Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an account of (...)
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  16. Aristotle's Aesthetic Ethics.John Milliken - 2006 - Southern Journal of Philosophy 44 (2):319-339.
    It is sometimes asked whether virtue ethics can be assimilated by Kantianism or utilitarianism, or if it is a distinct position. A look atAristotle’s ethics shows that it certanly can be distinct. In particular, Aristotle presents us with an ethics of aesthetics in contrast to themore standard ethics of cognition: A virtuous agent identifies the right actions by their aesthetic qualities. Moreover, the agent’s concernwith her own aesthetic character gives us a key to the important role the emotions (...)
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  17.  42
    Aesthetic Supererogation.Alfred Archer & Lauren Ware - 2017 - Estetika 54 (1):102-116.
    Many aestheticians and ethicists are interested in the similarities and connections between aesthetics and ethics (Nussbaum 1990; Foot 2002; Gaut 2007). One way in which some have suggested the two domains are different is that in ethics there exist obligations while in aesthetics there do not (Hampshire 1954). However, Marcia Muelder Eaton has argued that there is good reason to think that aesthetic obligations do exist (Eaton 2008). We will explore the nature of these obligations by asking whether acts (...)
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  18. Aesthetic Perception and its Minimal Content: A Naturalistic Perspective.Ioannis Xenakis & Argyris Arnellos - 2014 - Frontiers in Psychology 5.
    Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions (...)
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  19. Aesthetic Predicates: A Hybrid Dispositional Account.Teresa Marques - 2016 - Inquiry : An Interdisciplinary Journal of Philosophy 59 (6):723-751, doi:10.1080/0020174X.20.
    This paper explores the possibility of developing a hybrid version of dispositional theories of aesthetic values. On such a theory, uses of aesthetic predicates express relational second-order dispositional properties. If the theory is not absolutist, it allows for the relativity of aesthetic values. But it may be objected to on the grounds that it fails to explain disagreement among subjects who are not disposed alike. This paper explores the possibility of adapting recent proposals of hybrid expressivist theories (...)
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  20. The Relationship Between Aesthetic Value and Cognitive Value.Antony Aumann - 2014 - Journal of Aesthetics and Art Criticism 72 (2):117-127.
    Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its claims, the strength of its (...)
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  21. Aesthetic Ineffability.Silvia Jonas - 2017 - Philosophy Compass 12 (2):e12396.
    This essay provides an overview of the ways in which contemporary philosophers have tried to make sense of ineffability as encountered in aesthetic contexts. Section 1 sets up the problem of aesthetic ineffability by putting it into historical perspective. Section 2 specifies the kinds of questions that may be raised with regard to aesthetic ineffability, as well as the kinds of answer each one of those questions would require. Section 3 investigates arguments that seek to locate (...) ineffability within the object of aesthetic experiences, i.e. within aesthetic content. Section 4 discusses arguments that seek to locate aesthetic ineffability within the subject of aesthetic experience. (shrink)
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  22.  45
    Aesthetic Values in Science.Milena Ivanova - 2017 - Philosophy Compass 12 (10):e12433.
    Scientists often use aesthetic values in the evaluation and choice of theories. Aesthetic values are not only regarded as leading to practically more useful theories but are often taken to stand in a special epistemic relation to the truth of a theory such that the aesthetic merit of a theory is evidence of its truth. This paper explores what aesthetic considerations influence scientists' reasoning, how such aesthetic values relate to the utility of a scientific theory, (...)
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    Empathy, Engagement, Entrainment: The Interaction Dynamics of Aesthetic Experience.Ingar Brinck - 2017 - Cognitive Processing:1-10.
    A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based (...)
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  24. Explanations: Aesthetic and Scientific.Shen-yi Liao - 2014 - Royal Institute of Philosophy Supplement 75:127-149.
    Methodologically, philosophical aesthetics is undergoing an evolution that takes it closer to the sciences. Taking this methodological convergence as the starting point, I argue for a pragmatist and pluralist view of aesthetic explanations. To bring concreteness to discussion, I focus on vindicating genre explanations, which are explanations of aesthetic phenomena that centrally cite a work's genre classification. I show that theoretical resources that philosophers of science have developed with attention to actual scientific practice and the special sciences can (...)
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    A Delineation Solution to the Puzzles of Absolute Adjectives.Heather Burnett - 2014 - Linguistics and Philosophy 37 (1):1-39.
    The paper presents both new data and a new analysis of the semantic and pragmatic properties of the class of absolute scalar adjectives within an extension of a well-known logical framework for the analysis of gradable predicates: the delineation semantics framework . It has been long observed that the context-sensitivity, vagueness and gradability features of absolute scalar predicates give rise to certain puzzles for their analysis within most, if not all, modern formal semantic frameworks. While there exist proposals for (...)
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  26. Aesthetic Autonomy and Praxis: Art and Language in Adorno and Habermas.Jennifer A. McMahon - 2011 - International Journal of Philosophical Studies 19 (2):155 - 175.
    Abstract Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine?grained for discursive language. To accommodate such claims one can adopt either a convention?based account or a natural?kind account. A natural?kind theory can explain the first but requires some special scaffolding in order to (...)
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  27. The Limits of Aesthetic Empiricism.Fabian Dorsch - 2014 - In Gregory Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. Oxford University Press. pp. 75-100.
    In this chapter, I argue against empiricist positions which claim that empirical evidence can be sufficient to defeasibly justify aesthetic judgements, or judgements about the adequacy of aesthetic judgements, or sceptical judgements about someone's capacity to form adequate aesthetic judgements. First, empirical evidence provides neither inferential, nor non-inferential justification for aesthetic opinions. Second, while empirical evidence may tell us how we do respond aesthetically to artworks, it cannot tell us how we should respond to them. And, (...)
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  28. Rich Perceptual Content and Aesthetic Properties.Dustin Stokes - forthcoming - In Anna Bergqvist & Robert Cowan (eds.), Evaluative Perception. Oxford University Press.
    Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent (...) properties. I offer a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)
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  29.  18
    Color Adjectives and Radical Contextualism.Nathaniel Hansen - 2011 - Linguistics and Philosophy 34 (3):201 - 221.
    Radical contextualists have observed that the content of what is said by the utterance of a sentence is shaped in far-reaching ways by the context of utterance. And they have argued that the ways in which the content of what is said is shaped by context cannot be explained by semantic theory. A striking number of the examples that radical contextualists use to support their view involve sentences containing color adjectives ("red", "green", etc.). In this paper, I show how (...)
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  30. Color Adjectives and Radical Contextualism.Hansen Nat - 2011 - Linguistics and Philosophy 34 (3):201-221.
    Radical contextualists have observed that the content of what is said by the utterance of a sentence is shaped in far-reaching ways by the context of utterance. And they have argued that the ways in which the content of what is said is shaped by context cannot be explained by semantic theory. A striking number of the examples that radical contextualists use to support their view involve sentences containing color adjectives ("red", "green", etc.). In this paper, I show how (...)
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  31. A Semantic Solution to the Problem with Aesthetic Testimony.James Andow - 2015 - Acta Analytica 30 (2):211-218.
    There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the (...)
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  32. Approach to Aesthetics: Collected Papers on Philosophical Aesthetics.Frank Sibley - 2001 - Oxford University Press.
    A complete collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years. It addresses many topics, among them the nature of aesthetic qualities versus non-aesthetic qualities, the relation of aesthetic description to aesthetic evaluation, the different levels of evaluation, and the objectivity of aesthetic judgement. The later papers constitute both a significant development of Sibley's individual approach to aesthetics, such as his discussion of the (...)
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  33. Aesthetic Attention.Bence Nanay - 2015 - Journal of Consciousness Studies 22:960118.
    The aim of this paper is to give a new account of the way we exercise our attention in some paradigmatic cases of aesthetic experience. I treat aesthetic experience as a specific kind of experience and like in the case of other kinds of experiences, attention plays an important role in determining its phenomenal character. I argue that an important feature of at least some of our aesthetic experiences is that we exercise our attention in a specific, (...)
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  34.  33
    Responding to Aesthetic Reasons.Andrew McGonigal - forthcoming - Estetika.
    What makes a certain consideration an aesthetic reason rather than a reason of some other kind? Is it a solely a matter of the kind of attitude or activity that the reason supports? How fundamental or structural are such reasons? Do they contrast in a natural way with epistemic or practical reasons? Is skilled aesthetic achievement, whether interpretative or creative, a matter of recognizing the aesthetic reasons we have for a given response, and correctly according with such (...)
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  35. A Structural Disanalogy Between Aesthetic and Ethical Value Judgements.Caj Strandberg - 2011 - British Journal of Aesthetics 51 (1):51-67.
    It is often suggested that aesthetic and ethical value judgements are similar in such a way that they should be analysed in analogous manners. In this paper, I argue that the two types of judgements share four important features concerning disagreement, motivation, categoricity, and argumentation. This, I maintain, helps to explain why many philosophers have thought that aesthetic and ethical value judgements can be analysed in accordance with the same dispositional scheme which corresponds to the analogy between secondary (...)
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  36. Degree Structure as Trope Structure: A Trope-Based Analysis of Positive and Comparative Adjectives.Friederike Moltmann - 2009 - Linguistics and Philosophy 32 (1):51-94.
    This paper explores a novel analysis of adjectives in the comparative and the positive based on the notion of a trope, rather than the notion of a degree. Tropes are particularized properties, concrete manifestations of properties in individuals. The point of departure is that a sentence like ‘John is happier than Mary’ is intuitively equivalent to ‘John’s happiness exceeds Mary’s happiness’, a sentence that expresses a simple comparison between two tropes, John’s happiness and Mary’s happiness. The analysis received particular (...)
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  37.  46
    Color Adjectives, Standards, and Thresholds: An Experimental Investigation.Nat Hansen & Emmanuel Chemla - 2017 - Linguistics and Philosophy 40 (3):1--40.
    Are color adjectives ("red", "green", etc.) relative adjectives or absolute adjectives? Existing theories of the meaning of color adjectives attempt to answer that question using informal ("armchair") judgments. The informal judgments of theorists conflict: it has been proposed that color adjectives are absolute with standards anchored at the minimum degree on the scale, that they are absolute but have near-midpoint standards, and that they are relative. In this paper we report two experiments, one based on (...)
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  38. 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 aesthetic ideas, according (...)
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  39. 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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  40.  20
    WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  41. 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 commitment to (...)
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    A Critical Realist Perspective on Aesthetic Value.Ian Verstegen - 2006 - Journal of Critical Realism 5 (2):323-343.
    _ Source: _Volume 5, Issue 2, pp 323 - 343 The following article attempts to bring critical realism to bear on the changing nature of aesthetic value. Beginning with the transitive-intransitive distinction, it is advised that we withhold judgment on the possibility of aesthetic judgment, lest we commit the epistemic fallacy. Without hoping to attain a form of aesthetic value absolutism, a strategy of ‘eliminative realism’ is introduced, which seeks to remove false causes of apparent judgmental relativism. (...)
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    Beyond the Call of Beauty: Everyday Aesthetic Demands Under Patriarchy.Alfred Archer & Lauren Ware - 2018 - The Monist.
    his paper defends two claims. First, we will argue for the existence of aesthetic demands in the realm of everyday aesthetics, and that these demands are not reducible to moral demands. Second, we will argue that we must recognise the limits of these demands in order to combat a widespread form of gendered oppression. The concept of aesthetic supererogation offers a new structural framework to understand both the pernicious nature of this oppression and what may be done to (...)
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    Aesthetic Internalism and Two Normative Puzzles.Caj Strandberg - 2016 - Studi di Estetica 6:23-70.
    One of the most discussed views in metaethics is Moral Internalism, according to which there is a conceptually necessary connection between moral judgments and motivation to act. Moral Internalism is regarded to yield the prime argument against Moral Cognitivism and for Moral Non-Cognitivism. In this paper, I investigate the significance of the corresponding claim in metaaesthetics. I pursue two lines of argument. First, I argue that Aesthetic Internalism – the view that there is a conceptually necessary connection between (...) value judgments and motivation to act – is mistaken. It follows, I maintain, that the most important argument against Aesthetic Cognitivism, and for Aesthetic Non-Cognitivism, is flawed, and that the latter view presumably is incorrect. Second, I argue that considerations with regard to Aesthetic Internalism give rise to two normative puzzles with relevance for the normative domain in general. The most plausible solution to these puzzles entails, I maintain, that we need to revise the established view about normative judgments. Moreover, I propose a novel externalist account of aesthetic value judgments. (shrink)
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  45. Non‐Inferentialism About Justification – The Case of Aesthetic Judgements.Fabian Dorsch - 2013 - Philosophical Quarterly 63 (253):660-682.
    In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and (...)
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  46. Nurses' Attitudes Towards People with Dementia: The Semantic Differential Technique.Karl-Gustaf Norbergh, Yvonne Helin, Annika Dahl, Ove Hellzén & Kenneth Asplund - 2006 - Nursing Ethics 13 (3):264-274.
    One important aspect of the nurse-patient relationship is nurses’ attitudes towards their patients. Nurses’ attitudes towards people with dementia have been studied from a wide range of approaches, but few authors have focused on the structure of these attitudes. This study aimed to identify a structure in licensed practical nurses’ attitudes towards people with dementia. Twenty-one group dwelling units for people with dementia at 11 nursing homes participated in the study. A total of 1 577 assessments of 178 patients were (...)
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  47. Functional Beauty, Perception, and Aesthetic Judgements.Andrea Sauchelli - 2013 - British Journal of Aesthetics 53 (1):41-53.
    The concept of functional beauty is analysed in terms of the role played by beliefs, in particular expectations, in our perceptions. After finding various theories of functional beauty unsatisfying, I introduce a novel approach which explains how aesthetic judgements on a variety of different kinds of functional objects (chairs, buildings, cars, etc.) can be grounded in perceptions influenced by beliefs.
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  48.  56
    Practice Makes Perfect: The Effect of Dance Training on the Aesthetic Judge. [REVIEW]Barbara Montero - 2012 - Phenomenology and the Cognitive Sciences 11 (1):59-68.
    According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that (...)
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  49. Adjectives and Adverbs: Syntax, Semantics, and Discourse.Louise McNally & Christopher Kennedy (eds.) - 2007 - Oxford University Press UK.
    In this volume leading researchers present new work on the semantics and pragmatics of adjectives and adverbs, and their interfaces with syntax. Its concerns include the semantics of gradability; the relationship between adjectival scales and verbal aspect; the relationship between meaning and the positions of adjectives and adverbs in nominal and verbal projections; and the fine-grained semantics of different subclasses of adverbs and adverbs. Its goals are to provide a comprehensive vision of the linguistically significant structural and interpretive (...)
     
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  50. Aesthetic Supervenience Vs. Aesthetic Grounding.Jiri Benovsky - 2012 - Estetika 49 (2):166–178.
    The claim that the having of aesthetic properties supervenes on the having of non-aesthetic properties has been widely discussed and, in various ways, defended. In this paper, I will show that even if it is sometimes true that a supervenience relation holds between aesthetic properties and the 'subvenient' non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric and irreflexive relation is required, and I shall defend the claim (...)
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