View topic on PhilPapers for more information
Related categories

38 found
Order:
More results on PhilPapers
  1. added 2019-06-19
    A Linguistic Specification of Aesthetic Judgments.Jochen Briesen - forthcoming - British Journal of Aesthetics.
    This paper aims to delineate the class of aesthetic judgments linguistically. The main idea is that aesthetic judgments can be specified by a certain set of assertibility conditions, i.e., by norms that govern appropriate speech-acts. This idea is spelled out in detail and defended against various objections. The suggestion leads to an interesting account of aesthetic judgments that is theoretically fruitful: It provides the basis for a non-circular and satisfying characterization of the whole domain of aesthetic research and it marks (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  2. added 2019-06-19
    "I Like How It Looks but It is Not Beautiful" -- Sensory Appeal Beyond Beauty.Claudia Muth, Jochen Briesen & Claus-Christian Carbon - forthcoming - Poetics.
    Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  3. added 2019-06-05
    Constructing Aesthetic Value: Responses to My Commentators.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):100-111.
    This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a work of art (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  4. added 2019-05-08
    Everything In Its Right Place: Foucault And The 'Ideology Of The Aesthetic’.Dominic Paterson - 2004 - Postgraduate Journal of Aesthetics 1 (3):111-123.
    There are several ways in which we 'rediscover' things. Sometimes rediscovering means finding something we had thought lost—to take a relevant example, let's say a painting that was stolen, or thought destroyed, that turns up in a dingy attic, from where it is rescued, and then authenticated, valued and preserved, finally restored to its rightful place. In such an instance, there will be a place waiting for the rediscovered painting from where it has been missing, and known to have been (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  5. added 2019-05-06
    Pictorial Representation And Moral Knowledge.Katerina Bantinaki - 2004 - Postgraduate Journal of Aesthetics 1 (2):69-76.
    The idea that pictorial art can have cognitive value, that it can enhance our understanding of the world and of our own selves, has had many advocates in art theory and philosophical aesthetics alike. It has also been argued, however, that the power of pictorial representation to convey or enhance knowledge, in particular knowledge with moral content, is not generalized across the medium.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  6. added 2019-01-30
    Expressing Aesthetic Judgments in Context.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.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   3 citations  
  7. added 2019-01-02
    Toward a Science of Criticism: Aesthetic Values, Human Nature, and the Standard of Taste.Collier Mark - 2014 - In Cognition, Literature, and History. Routledge. pp. 229-242.
    The aesthetic skeptic maintains that it is futile to dispute about taste. One and the same work of art might appear beautiful to one person but repellent to another, and we have no reason to prefer one or another of these conflicting verdicts. Hume argues that the skeptic, however, moves too quickly. The crucial question is whether qualified critics will agree on their evaluations. And the skeptic fails to provide sufficient evidence that their verdicts will diverge. We have reason to (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  8. added 2018-06-07
    The Aesthetics of Theory Selection and the Logics of Art.Ian O’Loughlin & Kate McCallum - 2018 - Philosophy of Science (2):325-343.
    Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  9. added 2018-05-14
    Affine Geometry, Visual Sensation, and Preference for Symmetry of Things in a Thing.Birgitta Dresp-Langley - 2016 - Symmetry 127 (8).
    Evolution and geometry generate complexity in similar ways. Evolution drives natural selection while geometry may capture the logic of this selection and express it visually, in terms of specific generic properties representing some kind of advantage. Geometry is ideally suited for expressing the logic of evolutionary selection for symmetry, which is found in the shape curves of vein systems and other natural objects such as leaves, cell membranes, or tunnel systems built by ants. The topology and geometry of symmetry is (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  10. added 2018-03-09
    Review of Paul Crowther The Kantian Aesthetic. [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 sibling. Its (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  11. added 2017-11-01
    Aesthetic Rationality.Keren Gorodeisky & Eric Marcus - 2018 - Journal of Philosophy 115 (3):113-140.
    We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  12. added 2017-04-26
    The Uses of Aesthetic Testimony.C. Thi Nguyen - 2017 - British Journal of Aesthetics 57 (1):19-36.
    The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  13. added 2017-03-06
    Aesthetic Acquaintance.Dominic Mciver Lopes - 2009 - Modern Schoolman 86 (3/4):267-281.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  14. added 2017-02-22
    Reasoned and Unreasoned Judgement: On Inference, Acquaintance and Aesthetic Normativity.Dan Cavedon-Taylor - 2017 - British Journal of Aesthetics 57 (1):1-17.
    Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, aesthetic judgements may be unreasoned, (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  15. added 2017-01-23
    Dependent Beauty and Perfection in Kant's Aesthetics.Michael Fletcher - 2005 - Philosophical Writings (29).
    This paper attacks an account of Kant's controversial distinction between "free" and "dependent" beauty. I present three problems—The Lorland problem, The Crawford Problem, and the problem of intrinsic relation—that are shown to be a consequence of various interpretations of Kant's distinction. Next, I reconstruct Robert Wicks' well-known account of dependent beauty as "the appreciation of teleological style" and point out a key equivocation in the statement of Wicks' account: the judgment of dependent beauty can be thought to consist in comparing (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  16. added 2016-10-18
    Aesthetic Representation of Purposiveness and the Concept of Beauty in Kant’s Aesthetics. The Solution of the ‘Everything is Beautiful’ Problem.Mojca Küplen - 2016 - Philosophical Inquiries 4 (2):69-88.
    In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been criticized by several commentators for (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  17. added 2016-10-08
    Aesthetics and Rule Following.Christian Helmut Wenzel - 2016 - Contributions of the Austrian Ludwig Wittgenstein Society 24:260-262.
    In this essay I point out parallels between Kant’s theory of aesthetics and Wittgenstein’s discussion of rule following. Although Wittgenstein did not write an aesthetics and Kant did not discuss Wittgensteinian rule-following problems, and although both Kant and Wittgenstein begin at very different starting points and use different methods, they end up dealing with similar issues, namely issues about rules, particularity, exemplarity, objectivity, practice, and as-if statements.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  18. added 2016-06-15
    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 other objects is limited to (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  19. added 2016-06-15
    The Aesthetic Relevance of Empirical Findings.Fabian Dorsch - 2011 - Kongress-Akten der Deutschen Gesellschaft Für Ästhetik 2:1-21.
    Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual artworks (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  20. added 2016-06-14
    Die Grenzen des ästhetischen Empirismus.Fabian Dorsch - 2012 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 57 (2):269-281.
    In den letzten Jahren ist es recht populär geworden, traditionelle Fragen der philosophischen Ästhetik – wie zum Beispiel die nach der Natur und Rechtfertigung ästhetischer Beurteilungen – mithilfe empirischer Forschungsergebnisse zu beantworten zu versuchen. Diesem empiristisch geprägten Ansatz möchte ich gerne eine rationalistisch orientierte Auffassung der ästhetischen Erfahrung und Bewertung von Kunstwerken entgegensetzen. Insbesondere werde ich die ästhetische Relevanz dreier verschiedener Arten empirischer Studien kritisch diskutieren: (i) solcher, die einzelne Kunstwerke unter Einsatz der Natur- oder Geschichtswissenschaften erforschen; (ii) solcher, die (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  21. added 2016-05-24
    Kantian and Nietzschean Aesthetics of Human Nature: A Comparison Between the Beautiful/Sublime and Apollonian/Dionysian Dualities.Erman Kaplama - 2016 - Cosmos and History 12 (1):166-217.
    Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  22. added 2016-05-14
    The Nature of Aesthetic Experiences.Fabian Dorsch - 2000 - Dissertation, University College London
    This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  23. added 2016-03-08
    Causation in Reflective Judgment.Michael Kurak - 2016 - Kant Studies Online (1):12-41.
    The existing body of scholarship on Kant’s Critique of Judgment is rife with disagreement. At the centre of much of this disagreement is the issue of precisely what Kant understands to be taking place in a harmonization of the cognitive faculties. Is aesthetic reflective judgment to be identified with, or separated from, this harmonious state of the faculties of imagination and understanding? If aesthetic judgment is identified with this state, as is argued herein, then upon what is a judgment of (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  24. added 2015-07-06
    Taste and Acquaintance.Aaron Meskin & Jon Robson - 2015 - Journal of Aesthetics and Art Criticism 73 (2):127-139.
    The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just as (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   2 citations  
  25. added 2015-03-10
    Review of The Significance of Beauty: Kant on Feeling and the System of the Mind. [REVIEW]Jennifer A. McMahon - 1999 - Philosophy in Review 19 (2):122-124.
    Matthews discusses the role of our ability to make a judgment of taste (judgment of beauty) within Kant's notion of the structure of the mind. In doing this she does not simply rely upon what we can learn from the first part of the third critique, the 'Critique of Aesthetic Judgment', but draws upon Kant's philosophy as a whole, including the first two critiques and the second part of The Critique of Judgment, the 'Critique of Teleological Judgment'. She looks at (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  26. added 2015-03-10
    Review of Colin Lyas, Aesthetics (The Fundamentals of Philosophy), London; University College London Press, 1997. [REVIEW]Jennifer A. McMahon - 1998 - Australasian Journal of Philosophy 76 (4):647-649..
    The aim of this book is to promote understanding and enjoyment of the arts. With this aim in mind, Lyas introduces the key issues of philosophical aesthetics through examples drawn from high and popular culture, and from a variety of art forms, from music and painting to literature and poetry. The book is pitched as a springboard into undergraduate courses in aesthetics and as an introduction to philosophical aesthetics for the general reader. It is refreshing to read a book on (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  27. added 2015-02-02
    Towards a Unified Theory of Beauty.Jennifer A. McMahon - 1999 - Literature & Aesthetics 9:7-27.
    The Pythagorean tradition dominates the understanding of beauty up until the end of the 18th Century. According to this tradition, the experience of beauty is stimulated by certain relations perceived to be between an object/construct's elements. As such, the object of the experience of beauty is indeterminate: it has neither a determinate perceptual analogue (one cannot simply identify beauty as you can a straight line or a particular shape) nor a determinate concept (there are no necessary and sufficient conditions for (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   2 citations  
  28. added 2015-01-15
    Aesthetic Reflection and the Very Possibility of Art.Jennifer A. McMahon - 2007 - In Ian North (ed.), Visual Animals: Cross Overs, Evolution and New Aesthetics. Contemporary Art Centre of South Australia. pp. 73-83.
    If we conceive of ourselves as animals, it might be accurate to call us visual animals. The visual cortex is much larger in us relative to the size of our brains than in other animals, and large relative to the parts of the cortex responsible for the transmission of signals emanating from the other perceptual transducers. Our ability to recall visual images, recombine them in imagination and enter imaginatively into narratives is linked to this evolved piece of brain architecture. However, (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  29. added 2014-12-22
    Was heißt konservativ in der Kunst? Das Horn im 19. Jahrhundert und das Es-Dur-Trio op. 40 von Johannes Brahms: eine ästhetische Fallstudie.Andreas Dorschel - 2005 - Brahms-Studien 14:55-66.
    What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  30. added 2014-11-17
    La subjetivización de la estética y el valor cognitivo del arte según Gadamer.Pedro Karczmarczyk - 2007 - Analogía Filosófica: Revista de Filosofía, Investigación y Difusión (1):127-173.
    En este trabajo analizamos la reivindicación gadameriana del valor cognitivo de arte como un ejemplo de un modo de conocimiento que permite concebir de mejor manera la comprensión que tiene lugar en las ciencias del espíritu. Dicha reivindicación presupone el desconocimiento del valor cognitivo del arte operado por la subjetivización de la estética con Kant y una vuelta a los presupuestos de la tradición humanista. Por ello en la introducción presentamos en esquema los conceptos humanistas de tacto, gusto, sentido común (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  31. added 2014-03-22
    Kant's Beautiful Roses: A Response to Cohen's ‘Second Problem’.Miles Rind - 2003 - British Journal of Aesthetics 43 (1):65-74.
    According to Kant, the singular judgement ‘This rose is beautiful’ is, or may be, aesthetic, while the general judgement ‘Roses in general are beautiful’ is not. What, then, is the logical relation between the two judgements? I argue that there is none, and that one cannot allow there to be any if one agrees with Kant that the judgement ‘This rose is beautiful’ cannot be made on the basis of testimony. The appearance of a logical relation between the two judgements (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   3 citations  
  32. added 2014-03-18
    Beauty as a Symbol of Natural Systematicity.Andrew Chignell - 2006 - British Journal of Aesthetics 46 (4):406-415.
    I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   3 citations  
  33. added 2014-03-14
    Sentimentalism and the Intersubjectivity of Aesthetic Evaluations.Fabian Dorsch - 2007 - Dialectica 61 (3):417-446.
    Within the debate on the epistemology of aesthetic appreciation, it has a long tradition, and is still very common, to endorse the sentimentalist view that our aesthetic evaluations are rationally grounded on, or even constituted by, certain of our emotional responses to the objects concerned. Such a view faces, however, the serious challenge to satisfactorily deal with the seeming possibility of faultless disagreement among emotionally based and epistemically appropriate verdicts. I will argue that the sentimentalist approach to aesthetic epistemology cannot (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   4 citations  
  34. added 2013-10-06
    La Critica Etica dell'Arte.Andrea Sauchelli - 2013 - Aphex 8.
    Alcune opere d'arte manifestano (o suggeriscono di assumere) prospettive morali dubbie e, in certi casi, chiaramente deprecabili. Ad esempio, il documentario propagandista Il Trionfo della Volontà di Leni Riefensthal esprime (e cerca di evocare) ammirazione nei confronti di Adolf Hitler. Nonostante ciò, Il Trionfo della Volontà è considerato un capolavoro nel genere dei documentari. Questo e molti altri esempi simili suggeriscono le seguenti domande: É possibile considerare un'opera d'arte un capolavoro artistico e, allo stesso tempo, un esempio di immoralità? La (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  35. added 2012-01-16
    Aesthetic Formalism, Reactions and Solutions.Khosrow Bagheri Noaparast & Mohammad Zoheir Bagheri Noaparast - 2011 - Wisdom and Philosophy 6 (4):101-112.
    It seems necessary to introduce the basic concepts used in this article i.e. formalism, anti-formalism and moderate formalism. Formalists believe that the aesthetic appreciation of an art work generally involves an attentive awareness of its sensory or conceptual qualities and does not require knowledge about its non-perceptual properties. Anti-formalists on the hand hold that noon of the aesthetic properties in the work of art are formal. A number of philosophers have recently advocated a more moderate formalism. According to this view (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  36. added 2011-09-27
    A New Problem for Aesthetics.Kevin Melchionne - 2011 - Contemporary Aesthetics 9.
    The essay introduces the problem of aesthetic unreliability, the variety of ways in which it is difficult to grasp our aesthetic experience and the consequent confusion and unreliability of what we take as our taste.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  37. added 2009-09-05
    Beauty, Desire and Ignorance.Christopher Mole - 2008 - International Journal of Philosophical Studies 16 (4):581 – 593.
    A critical notice of Alexander Nehamas's Only a Promise of Happiness: The Place of Beauty in a World of Art.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  38. added 2009-06-09
    Kant on the Normativity of Taste: The Role of Aesthetic Ideas.Andrew Chignell - 2007 - Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   7 citations