Aesthetic Qualities

Edited by Robert R. Clewis (Gwynedd Mercy University, Ludwig Maximilians Universität, München)
View topic on PhilPapers for more information
Related categories
Subcategories:

114 found
Order:
More results on PhilPapers
1 — 50 / 114
Material to categorize
  1. Aproximación teórica a la especificidad de los valores estéticos.José Ramón Fabelo Corzo - 2004 - Graffylia 4 (4):17-25.
    El artículo busca acercarse a la comprensión de los rasgos particulares de los valores estéticos, fundamentalmente en las obras de arte. Para ello parte de la premisa de que el valor estético no es en sí mismo un atributo del objeto artístico, ni el resultado exclusivo de la plasmación en él de cierto ideal estético. Para que un objeto sea portador de valor estético ha de funcionar precisamente como tal, lo cual presupone la presencia y participación de otros sujetos que (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  2. Entre dos tempestades. Boal dialoga con Shakespeare.José Ramón Fabelo Corzo & Ana Lucero López Troncoso - 2016 - In José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.), Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Puebla, Pue., México: pp. 285-299.
    Los autores realizan un análisis comparativo entre The Tempest de Willian Shakespeare y La Tempestad de Augusto Boal, siguiendo la pauta de este último autor, quien ve en su obra no la adaptación de la del clásico dramaturgo inglés, sino la respuesta a aquella desde la perspectiva de Caliban y no de Próspero.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  3. The Arts of Action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
Aesthetic Qualities, Misc
  1. Really Boring Art.Andreas Elpidorou & John Gibson - forthcoming - Ergo: An Open Access Journal of Philosophy.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  2. Can Food Be Art In Virtue of Its Savour Alone?Mohan Matthen - forthcoming - Critica.
    Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a larger (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  3. Vergegenwärtigung von Erfahrungen, Perspektivenübernahme und Empathie.Íngrid Vendrell-Ferran - 2018 - In Susanne Schmetkamp & Magdalena Zorn (eds.), Variationen des Mitfühlens. Empathie in Musik, Literatur, Film und Sprache. Mainz, Stuttgart: Franz Steiner Verlag.
    Der Aufsatz ist in zwei Teile gegliedert. Im ersten Teil unterscheide ich das Phänomen der Empathie von ähnlichen Phänomenen. Im zweiten Teil werde ich auf die Bedingungen für Empathie eingehen. In diesem Teil geht es mir darum zu zeigen, dass wir es trotz einiger Unterschiede zwischen Empathie für Mitmenschen und Empathie für Figuren mit demselben Phänomen zu tun haben.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  4. Can Literature Be Moral Philosophy? A Sceptical View on the Ethics of Literary Empathy.Ingrid Vendrell Ferran - 2011 - In Sebastian Hüsch (ed.), Philosophy and Literature and the Crisis of Metaphysics.
    One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy for fictional (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  5. Pleasure and Transcendence: Two Paradoxes of Sublimity.Tom Hanauer - 2018 - In Lars Aagaard-Mogensen (ed.), The Possibility of the Sublime: Aesthetic Exchanges. Newcastle, UK: Cambridge Scholars Publishing. pp. 29-44.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  6. Beauty. New Essays in Aesthetics and the Philosophy of Art.Wolfgang Huemer & Íngrid Vendrell Ferran (eds.) - 2019 - München, Deutschland: Philosophia.
    The notion of beauty has been and continues to be one of the main concerns of aesthetics and art theory. Traditionally, the centrality of beauty in the experience of art was widely accepted and beauty was considered one of the key values in aesthetics. In recent debate, however, the significance of the notion of beauty has been discussed controversially. Especially in the second half of the twentieth century, the role of beauty was strongly challenged both by artists and in philosophy (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  7. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  8. Communicability Of Pleasure And Normativity Of Taste In Kant’s Third Critique.Iskra Fileva - 2007 - Postgraduate Journal of Aesthetics 4 (2):11-18.
    Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it looks, on (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  9. On "Aesthetics as Philosophy of Perception".Nicholas Silins - 2019 - Studi di Estetica:227-233.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  10. Impressions Of Reflection And The End Of Art: A Re-Evaluation Of Hume’s Standard Of Taste.Gary Jaeger - 2004 - Postgraduate Journal of Aesthetics 1 (1):25-31.
    In his 'Of the Standard of Taste' David Hume seems to make the paradoxical claim that even though the sentiments an agent feels in response to an artwork are subjective and unique, and it cannot be said that such sentiments are either correct or incorrect, there is a standard upon which art can be judged, which is at least partly determined by these sentiments.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  11. Independência: libertação da arte na dimensão estética de Herbert Marcuse.Jair Soares - 2018 - Revista Diaphonía.
    Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  12. Do Gestalt Effects Show That We Perceive High-Level Aesthetic Properties?Raamy Majeed - 2018 - Analysis 78 (3):440-450.
    Whether we perceive high-level properties is presently a source of controversy. A promising test case for whether we do is aesthetic perception. Aesthetic properties are distinct from low-level properties, like shape and colour. Moreover, some of them, e.g. being serene and being handsome, are properties we appear to perceive. Aesthetic perception also shares a similarity with gestalt effects, e.g. seeing-as, in that aesthetic properties, like gestalt phenomena, appear to ‘emerge’ from low-level properties. Gestalts effects, of course, are widely observed, which (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  13. A Kantian Analytic of the Ugly.Christopher Buckman - 2017 - International Philosophical Quarterly 57 (4):365-380.
    Kant’s theory of taste, as expounded in the Critique of Judgment, deals exhaustively with judgments of beauty. Rarely does Kant mention ugliness. This omission has led to a debate among commentators about how judgments of ugliness should be explained in a Kantian framework. I argue that the judgment of ugliness originates in the disharmonious play between the faculties of imagination and understanding. Such disharmony occurs when the understanding finds that it cannot in principle form any concept suitable to a representation (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  14. The Aesthetic Potential of the Element of Earth.Marzenna Jakubczak - 2002 - Analecta Husserliana:253-263.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  15. 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 (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  16. Review of Patina: A Profane Archaeology, by Shannon Lee Dawdy. [REVIEW]Erich Hatala Matthes - 2018 - Journal of Aesthetics and Art Criticism 76 (2):249-252.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  17. The Others In/Of Aristotle’s Poetics.Gene Fendt - 1997 - Journal of Philosophical Research 22:245-260.
    This paper aims at interpreting the first six chapters of Aristotle’s Poetics in a way that dissolves many of the scholarly arguments conceming them. It shows that Aristotle frequently identifies the object of his inquiry by opposing it to what is other than it. As a result aporiai arise where there is only supposed to be illuminating exclusion of one sort or another. Two exemplary cases of this in chapters 1-6 are Aristotle’s account of mimesis as other than enunciative speech (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  18. Musical Works and Performance Evaluation.António Lopes - 2005 - Postgraduate Journal of Aesthetics 2 (2):76-86.
    This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features of (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   2 citations  
  19. Abstrakt - Affektiv - Multimodal. Zur Verarbeitung von Bewegtbildern Im Anschluss an Cassirer, Langer Und Krois.Martina Sauer - 2016 - In Lars Christian Grabbe, Patrick Rupert-Kruse & Norbert M. Schmitz (eds.), Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment. Kiel, Germany: Büchner-Verlag. pp. 46-71.
    Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne K. (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  20. Beauty (English Version).John Zeimbekis - 2018 - In J. Deonna E. Tieffenbach (ed.), Petit traité des valeurs. Editions de l'Ithaque.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  21. 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  
  22. The Digital Nature of Gothic.Lars Spuybroek - 2011 - In L. Spuybroek (ed.), Research & Design: Textile Tectonics. pp. 8-41.
    The first chapter of The Sympathy of Things published in Research & Design: Textile Tectonics (2011). It develops the notion of a “gothic ontology” which inverts Deleuze’s baroque ontology of the fold. Where in the universe of the fold continuity precedes singularity, in the gothic singularity precedes continuity. The reversal is based on the Ruskinian notion of the rib, which is the source of “changefulness”, expressed through “millions of variations” of figures. Figures move and change only to interact with or (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  23. 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 relationship between art and the (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  24. 9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch.C. E. Emmer - 2013 - In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Press. pp. 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  25. Cuteness as a Product of Natural Selection.John T. Sanders - manuscript
    This is a more detailed version of my "On 'Cuteness'", which appeared in the British Journal of Aesthetics in April 1992. For John Morreall, cuteness is an abstract general attribute of infants that causes adults to want to care for them (or which is the reason, or at least important reason, for such solicitousness). I shall try to show, in what follows, that this is, if not an altogether fallacious way of explaining the matter, at least an extremely misleading one. (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  26. The Flower and the Breaking Wheel: Burkean Beauty and Political Kitsch.C. E. Emmer - 2007 - International Journal of the Arts in Society 2 (1):153-164.
    What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows for (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark   3 citations  
  27. The Sense of Art. [REVIEW]Peg Brand Weiser - 1990 - The Personalist Forum 6 (1):89-91.
    Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  28. Ethical Consensus and the Truth of Laughter: The Structure of Moral Transformations.Hub Zwart - 1996 - Kok Pharos Pub. House.
    There are several strategies for exposing the defects of established moral discourse, one of which is critical argumentation. However, under certain specific historical circumstances, the apparent self-evidence of established moral discourse has gained such dominance, such a capacity of resistance or incorporation, such an ability to conceal its basic vulnerability that its validity simply seems beyond contestation. Notwithstanding the moral subject’s basic discontent, he or she remains unable to challenge the dominant discourse effectively by means of critical argument. Or, to (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   3 citations  
Beauty
  1. The Aesthetic Value of the World.Tom Cochrane - forthcoming - Oxford, UK: Oxford University Press.
    This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  2. Figurate and Spectral Architecture: Of the Lithic, Ferric, and Plastic.Lars Spuybroek - 2020 - In Grace and Gravity: Architectures of the Figure. London: Bloomsbury. pp. 115–59.
    The fourth of eight chapters from my recently published book "Grace and Gravity: Architectures of the Figure." The argumentation builds on terminology introduced in the first three chapters, the most important being the phased structure of the figure: prefiguration, figuration, and transfiguration. Also, the earlier developed interdependence of movement and standstill, which we find both in beauty and in grace, is here expanded in the relationship between the mineral, animal, and vegetable.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  3. The Compass of Beauty: A Search For the Middle.Lars Spuybroek - 2018 - In Maria Voyatzaki (ed.), Architectural Materialisms: Nonhuman Creativity. Edinburgh, UK: Edinburgh University Press. pp. 176–204.
    This chapter is a rethinking of my earlier “The Ages of Beauty” which investigated Charles Hartshorne’s Diagram of Aesthetic Values. The argument is placed in a long history of beauty being considered as the middle between extremes. It slowly develops into a structure not merely of aesthetic experience but of existence itself, making it an alternative to Heidegger’s fourfold.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  4. Sun and Lightning: The Visibility of Radiance.Lars Spuybroek - 2016 - In L. Spuybroek J. Brouwer (ed.), The War of Appearances: Transparency, Opacity, Radiance. Rotterdam, Netherlands: V2_Publishing. pp. 98-127.
    A long chapter for The War of Appearances: Transparency, Opacity, Radiance (V2_Publishing, 2016) building on the findings of “Charis and Radiance,” an essay published two years earlier. It discusses the inherent connection between visibility and radiance within the framework of Plato’s sun model as the source of reality.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  5. Grace and Gravity: Architectures of the Figure.Lars Spuybroek - 2020 - London, UK: Bloomsbury.
    A pdf sample that contains the cover, contents page, preface and the back cover with endorsements and blurb.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  6. Moral Beauty, Inside and Out.Ryan P. Doran - forthcoming - Tandf: Australasian Journal of Philosophy 1:1-19.
    In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  7. On Beauty: All Roads Disgorge to Black Decay.Francisco Valdez - manuscript
    When Kant begins his judgements of beauty in several step eventually, we reach a nexus to which taste and a certain subjectivity is taken into account. But at the end of the day we ask ourselves why is it beautiful? There are certain objects such as tragic poems and video games that are beautiful deemed beautiful. In this essay I will explore the tension created by Kant’s judgements of beauty and the beauty of tragedy through the medium of poetry and (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  8. Sensory Force, Sublime Impact, and Beautiful Form.Eli I. Lichtenstein - 2019 - British Journal of Aesthetics 59 (4):449-464.
    Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to their (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  9. Beauty. New Essays in Aesthetics and the Philosophy of Art.Wolfgang Huemer & Íngrid Vendrell Ferran (eds.) - 2019 - München, Deutschland: Philosophia.
    The notion of beauty has been and continues to be one of the main concerns of aesthetics and art theory. Traditionally, the centrality of beauty in the experience of art was widely accepted and beauty was considered one of the key values in aesthetics. In recent debate, however, the significance of the notion of beauty has been discussed controversially. Especially in the second half of the twentieth century, the role of beauty was strongly challenged both by artists and in philosophy (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  10. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  11. Kiesewetter, Kant, and the Problem of Poetic Beauty.C. E. Emmer - 2018 - In Violetta L. Waibel, Margit Ruffing & David Wagner (eds.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses. Berlin, Germany: pp. 2979–2986.
    My observations here are meant to address a current lacuna in discussions of Kant's aesthetics, namely the beauty of poetry. There are, I admit, numerous treatments of poetry considered in the light of Kant's aesthetic theory, but what may not be noticed is that in discussions of poetry and Kant's aesthetics, the topic of poetic beauty only rarely comes up. This virtual silence on the beauty of poetry is surprising, given that the beautiful is obviously one of the two foundational (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  12. Admiration, Attraction and the Aesthetics of Exemplarity.Ian James Kidd - 2019 - Journal of Moral Education 48 (3):369-380.
    The aim of this paper is to show that an aesthetics of exemplarity could be a useful component of projects of moral self-cultivation. Using some in Linda Zagzebski's exemplarism, I describe a distinctive, aesthetically-inflected mode of admiration called moral attraction whose object is the inner beauty of a persn - the expression of the 'inner' virtues or excellences of character of a person in 'outer' forms of bodily comportment that are experienced, by others, as beautiful. I then argue that certain (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  13. Communicability Of Pleasure And Normativity Of Taste In Kant’s Third Critique.Iskra Fileva - 2007 - Postgraduate Journal of Aesthetics 4 (2):11-18.
    Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it looks, on (...)
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  14. Kantian Beauty, Fractals, and Universal Community.C. E. Emmer - 2019 - Dialogue and Universalism 29 (2):65-80.
    Benoit B. Mandelbrot, when discussing the global appeal of fractal patterns and designs, draws upon examples from across numerous world cultures. What may be missed in Mandelbrot's presentation is Immanuel Kant’s precedence in recognizing this sort of widespread beauty in art and nature, fractals avant la lettre. More importantly, the idea of the fractal may itself assist the aesthetic attitude which Kantian beauty requires. In addition, from a Kantian perspective, fractal patterns may offer a source for a sense of community (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  15. The Fear of Aesthetics in Art and Literary Theory.Sam Rose - 2017 - New Literary History 48 (2):223-244.
    Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  16. Emotion in the Appreciation of Fiction.Ingrid Vendrell Ferran - 2018 - Journal of Literary Theory 12.
    Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  17. Aesthetic Properties, Mind-Independence, and Companions in Guilt.Daan Evers - 2019 - In Richard Rowland & Christopher Cowie (eds.), Companions in Guilt Arguments in Metaethics. Routledge.
    I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  18. Buddhism, Beauty, and Virtue.David Cooper - 2017 - In Kathleen J. Higgins, Shakirsaeed Shakirsaeed & Sonia Sonia (eds.), Artistic Visions and the Promise of Beauty,. Dordrecht: Springer. pp. 123-138.
    The chapter challenges hyperbolic claims about the centrality of appreciation of beauty to Buddhism. Within the texts, attitudes are more mixed, except for a form of 'inner beauty' - the beauty found in the expression of virtues or wisdom in forms of bodily comportment. Inner beauty is a stable presence throughout Buddhist history, practices, and art.
    Remove from this list   Download  
    Translate
     
     
    Export citation  
     
    Bookmark   3 citations  
  19. Review of Kirwan Beauty. [REVIEW]Jennifer A. McMahon - 2001 - Journal of Aesthetics and Art Criticism 59 (3):334-336.
    Kirwan identifies three kinds of beauty theory within the Western tradition. These are: ‘in the eye of the beholder’ theories; neoplatonic theories; and what he refers to as synaesthetic theories; which he discusses in chapters 2, 3 and 4 respectively. He places himself within the synaesthetic tradition whose emphasis is apparently on the interaction between the beautiful object and the perceiver. Kirwan, however, does not analyse this interaction. Nor does he concern himself with what makes the experience of beauty possible, (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
1 — 50 / 114