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  1. Motivational Internalism and Disinterestedness.Ryan P. Doran - 2024 - British Journal of Aesthetics 65 (1):61-80.
    According to the most important objection to the existence of moral beauty, true judgements of moral beauty are not possible as moral judgements require being motivated to act in line with the moral judgement made, and judgements of beauty require not being motivated to act in any way. Here, I clarify the argument underlying the objection and demonstrate that it does not show that moral beauty does not exist. I present two responses: namely, that the beauty of moral beauty does (...)
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  2. Choosing Our Aesthetic Practices Wisely: Embodiment, Pleasure, and Justice.Sherri Irvin - forthcoming - Debates in Aesthetics.
    Aesthetic responses to human embodiment play important roles in our individual and social flourishing. Our ability to feel comfortable with and even take pleasure in our own embodiment contributes to our well-being, and our capacity to appreciate the embodiment of others contributes to our full recognition of them as persons and to their feeling of being valued and at home in the world. We are socialized into practices of appreciating bodily beauty: the facial and bodily qualities that a culture picks (...)
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  3. Aesthetic Non-Naturalism.Daan Evers - 2024 - British Journal of Aesthetics 64 (4):505-520.
    Aesthetic non-naturalism is the view that there are objective aesthetic truths that hold in virtue of sui generis facts. This view is seldom explicitly endorsed in philosophical aesthetics. I argue that many aestheticians should treat it as the view to beat, since (a) their commitments favour aesthetic realism, (b) non-naturalistic forms of aesthetic realism are particularly promising and (c) non-naturalists have reasonable answers to four important objections.
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  4. REALISM IN ART AND REALISM OF ART / РЕАЛИЗМ В ИСКУССТВЕ И РЕАЛИЗМ ИСКУССТВА.Pavel Simashenkov - 2024 - Актуальные Вопросы Культуры, Искусства, Образования 40 (№ 2):75-82.
    The article analyzes the aesthetic content of the concept of realism in stylistic, genre and ideological aspects. Guided by the comparative method and a comprehensive approach to the study of the problem, the author declares the a priori avant-garde nature of art and, as a result, the groundlessness of confrontation between realists and avant-gardists. The catharsis achieved by the realism of expressive means should be real. Thus, the author's vision of realism presupposes not so much the harmony of art with (...)
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  5. Aesthetic Peerhood and the Significance of Aesthetic Peer Disagreement.Quentin Pharr & Clotilde Torregrossa - 2024 - Southern Journal of Philosophy:1-20.
    Both aestheticians and social epistemologists are concerned with disagreement. However, in large part, their literature has yet to overlap substantially in terms of discussing whether there are viable conceptions of aesthetic peerhood and what the significance of aesthetic peer disagreement might be as a result. This article aims to address this gap. Taking cues from both the aesthetics and social epistemological literature, it develops several conceptions of aesthetic peerhood that are not only constituted by various forms of cognitive peerhood and (...)
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  6. Nominalist Theory of Aesthetic Experience.Andrei Nekhaev - 2023 - Lomonosov Philosophy Journal 56 (1):66–81.
    The article presents a critique of aesthetic realism. The core of this theory contains three theses: (AR) aesthetic properties are the sources of aesthetic experience; (PA) perceptual acquaintance with the objects of aesthetic evaluation is a sine qua non condition for making an judgment; (DM) aesthetic properties are describable. Arguments of faultless disagreement, esse is percipi, and zombie art cast doubt on theses (AR) and (DM). Based on this critique, an alternative nominalist theory of aesthetic experience is proposed, in which (...)
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  7. Curation as Ontology, or Can We Fold Reality as an Object?Jan Gresil Kahambing - 2024 - Cosmos and History 20 (1):179-220.
    I propose to open a discussion on a realist philosophy of curation. To do so, I plot premises that will move towards such a philosophy. While I am neither introducing a new ontology nor contributing to metaphysics, I deal with metaphysical and ontological issues as these engage in the philosophy of curation and the philosophy of museums. In particular, I start with a museological or curatorial realism towards a discussion on meeting curation with the broadness of reality. There are three (...)
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  8. Le modernisme récalcitrant de Roberto Schwarz.Raphael F. Alvarenga - 2023 - Letterature D'America 43 (195):99-114.
    In contrast to the thesis of a thorough homology between the demystifying vocation of modernism and the profanatory tendencies of capitalist dynamics, the work of Roberto Schwarz seems to provide elements for a more nuanced conception of the modernist experience. While denouncing the setback caused by the routinisation of artistic strategies of defamiliarization, the Brazilian critic remains reluctant to accept the postmodernist assumption that any attempt to give consequence to the modernist universe in changed circumstances is necessarily doomed to failure. (...)
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  9. Aesthetic properties.Sonia Sedivy - 2023 - In A. R. J. Fisher & Anna-Sofia Maurin (eds.), The Routledge Handbook of Properties. London: Routledge.
    Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative thought. Historicism about (...)
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  10. Truly, Madly, Deeply: Moral Beauty & the Self.Ryan P. Doran - forthcoming - Ergo: An Open Access Journal of Philosophy.
    When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral beauty (...)
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  11. Ficta and Virtuality: An Ingardenian Ontology of Virtualized Ficta.Hicham Jakha - 2024 - Rivista di Estetica 85 (1):199-212.
    In my paper, I establish an Ingardenian phenomenological ontology of "virtualized ficta", i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I call the (...)
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  12. Introduction to the special issue “alethic pluralism and the normativity of truth”.Filippo Ferrari & Sebastiano Moruzzi - 2020 - American Philosophical Quarterly 57 (4):309-310.
    In Truth and Objectivity, Crispin Wright argues that because truth is a distinctively normative property, it cannot be as metaphysically insubstantive as deflationists claim.1 This argument has been taken, together with the scope problem,2 as one of the main motivations for alethic pluralism.3 We offer a reconstruction of Wright’s Inflationary Argument (henceforth IA) aimed at highlighting what are the steps required to establish its inflationary conclusion. We argue that if a certain metaphysical and epistemological view of a given subject matter (...)
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  13. Kreativität und Mimesis. Das Bildschaffen in interkultureller Perspektive.Zhuofei Wang - 2022 - Image. Zeitschrift für Interdisziplinäre Bildwissenschaft 36:102-111.
    As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due to (...)
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  14. The Inauguration of Formalism: Aestheticism and the Productive Opacity Principle.Michalle Gal - 2022 - Journal of Comparative Literature and Aesthetics 2 (24):20-30.
    This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as “deep (...)
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  15. Uno sguardo filosofico alla teoria della sensazione di Aristotele.Lorenzo Maria Pacini - manuscript
    splorando con interesse il vasto mondo delle scienze filosofiche, l’autore del presente saggio si è proposto di indagare la cosiddetta teoria della sensazione . Tema trattato da molti pensatori, sin dall’antichità esso ha affascinato ed occupato la specula zione di tuttele branche della materia, riscuotendo particolare successo ai giorni nostri con leneuroscienze, il cui progresso sta permettendo di coniugare la riflessione filosofica con lescoperte scientifiche, aprendo nuovi scenari di approfondimento e ridefinizione concettuale.Senza la pretesa di una completa esaustività, la presente (...)
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  16. The beauty of sound: Timbre as grounds for aesthetic and artistic value in music.Ben Mc Hugh - 2022 - Dissertation, Uppsala University
    This thesis explores the concept of timbre through the lens of analytic philosophical aesthetics and philosophy of music. I argue that timbre should be thought of as providing the grounds for artistic and aesthetic values in music. To this end and firstly, I critique the physical sense of timbre in favour of two anti-realist senses of timbre. These two are the qualitative and the semantic senses which are developed from two of Siedenburg and McAdams’ four senses of timbre. I argue (...)
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  17. Um estudo sobre os universais em Ideias I.Nathalie Barbosa de La Cadena - 2017 - Aoristo - International Journal of Phenomenology, Hermeneutics and Metaphysics 1 (2):43-62.
    A questão dos universais permanece tema na filosofia tanto na ontologia como na epistemologia. Em Husserl, há universais particulares, o ‘X’ noemático, o idêntico, e universais stricto sensu, nomes universais atemporais. Neste artigo, apresento o tema conforme analisado por Husserl em Ideias I. Na primeira seção, descrevo a trajetória até os universais destacando o paralelismo entre noese e noema. Na segunda seção, traço o reflexo para a filosofia da linguagem também afetada pela correspondência noético-noemática. Na terceira e última seção, mostro (...)
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  18. Empathie.Íngrid Vendrell-Ferran - 2021 - In Siegmund Judith (ed.), Handbuch Kunstphilosophie. Stuttgart: Utb.
    Dieser Beitrag handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...)
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  19. Spur, Zeugnis und Imagination: Der Erkenntniswert von Dokumentarfilmen.Ingrid Vendrell Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1):147-167.
    In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...)
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  20. On Hybrid Expressivism about Aesthetic Judgments.Sanna Hirvonen, Natalia Karczewska & Michał P. Sikorski - 2019 - Grazer Philosophische Studien 96 (4):541-568.
    Contextualist accounts of aesthetic predicates have difficulties explaining why we feel that speakers are disagreeing when they make true and compatible but superficially contradictory aesthetic judgments. One possible way to account for the disagreement is hybrid expressivism, which holds that the disagreement happens at the level of pragmatically conveyed, clashing contents about the speakers’ conative states. Marques defends such a strategy, combining dispositionalism about value, contextualism, and hybrid expressivism. This paper critically evaluates the plausibility of the suggested pragmatic mechanisms in (...)
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  21. 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: Philosophia.
    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.
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  22. Close Looking and Conviction.Sam Rose - 2017 - Art History 40:156-77.
    This article analyses the processes involved in description and ‘close looking’ in relation to works of art. Aspects discussed include the often-unspoken appeal to a limited form of artistic intention, the use of ‘context’, and the way that pictorial features are manipulated in the service of interpretation. Ultimately the article shows how great a role the writers’ overarching assumptions (such as about the history of modernism) are likely to play in apparently object-focused analysis, and as such why we should be (...)
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  23. Aesthetic Properties, Mind-Independence, and Companions in Guilt.Daan Evers - 2019 - In Christopher Cowie & Rach Cosker-Rowland (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.
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  24. Aristotle's Axology.Seyed Mohammad Hosseini - 2010 - Ayeneh Marefat 20 (7):95-121.
    This Paper attempts to Jude the axiology of Aristotle’s Philosophy based on Aristotelian Philosophy. For this Purpose, we will first Prove axiology as a kind of knowledge and then we will study the relation between axiology and two others knowledge domains, that is, ontology and epistemology. We will demonstrate that values like goodness and beauty, are same final cause and formal cause for explanation of values of every thing. At least, in the nature, goodness and beauty are the idea of (...)
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  25. PHIL4230 Photocopy Packet Surrealism (edited by V.I. Burke).Victoria I. Burke (ed.) - 2011 - Guelph: University of Guelph.
    This out-of-print, two-volume, photocopy packet, in the area of "Surrealism and the Politics of the Particular" includes readings on language, meaning, and surrealism from Adorno, Benjamin, McCumber, Breton, Heidegger, Freud, Kristeva, Ricouer, and Bataille.
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  26. 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 aesthetic ineffability within the (...)
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  27. An Absolutist Theory of Faultless Disagreement in Aesthetics.Carl Baker & Jon Robson - 2017 - Pacific Philosophical Quarterly 98 (3):429-448.
    Some philosophers writing on the possibility of faultless disagreement have argued that the only way to account for the intuition that there could be disagreements which are faultless in every sense is to accept a relativistic semantics. In this article we demonstrate that this view is mistaken by constructing an absolutist semantics for a particular domain – aesthetic discourse – which allows for the possibility of genuinely faultless disagreements. We argue that this position is an improvement over previous absolutist responses (...)
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  28. Art from a Wittgensteinian Perspective: Constitutive Norms in Context.Sonia Sedivy - 2014 - Journal of Aesthetics and Art Criticism 72 (1):67-82.
    This article offers a detailed textual reexamination of the ‘family resemblance’ passages to reconsider their implications for understanding art. The reassessment takes into account their broader context in the Philosophical Investigations, including the rule following considerations, and draws on a realist interpretive framework associated principally with the work of Cavell, Diamond, McDowell, and Putnam. Wittgensteinian “realism with a human face” helps us discern that the primary issue is not whether certain concepts are definable, posing a stark opposition between essentialism and (...)
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Aesthetic Realism
  1. Information, Intelligence and Idealism.Martin Korth - manuscript
    Why are computers so smart these days? And why are humans apparently still a bit smarter? Does this have something to do with the difference between data and meaning? Does this in turn mean that at least some abstract entities, such as numbers, exist independently of human thought? Wouldn’t that require an expansion of our scientific world view? And would that at all be compatible with what we know about our world from physics and chemistry, philosophy, psychology, neuroscience and the (...)
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  2. Folk Aesthetic Intersubjectivism.Giulio Pietroiusti - manuscript
    Cova et al. (2019) have tested people's beliefs on aesthetic disagreement using experiments based on questionnaires. Since the vast majority of people chose answers that are incompatible with aesthetic intersubjectivism, Cova et al. claim that the aesthetics literature is misguided in assuming that ordinary people are intersubjectivists. Contesi et al. (2024) argue that those results are not in contrast with the aesthetics literature, given that folk intersubjectivism is generally understood as an implicit commitment, rather than an explicit belief; its presence, (...)
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  3. Beauty as Evidence of Intelligent Design.Logan Paul Gage - 2023 - In God's Grandeur. Manchester, NH: Sophia Institute Press. pp. 199-216.
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  4. Response-Dependence and Aesthetic Theory.Alex King - 2022 - In Chris Howard & Rach Cosker-Rowland (eds.), Fittingness. OUP. pp. 309-326.
    Response-dependence theories have historically been very popular in aesthetics, and aesthetic response-dependence has motivated response-dependence in ethics. This chapter closely examines the prospects for such theories. It breaks this category down into dispositional and fittingness strands of response-dependence, corresponding to descriptive and normative ideal observer theories. It argues that the latter have advantages over the former but are not themselves without issue. Special attention is paid to the relationship between hedonism and response-dependence. The chapter also introduces two aesthetic properties that (...)
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  5. Aesthetic Values Are Distal Versions of Practical Values.Tom Cochrane - 2022 - Journal of Aesthetics and Art Criticism 81 (1):83-84.
    I believe the first thing to say about value is that it is something that we do. We value things. There is no value out there independent of valuing beings. Thi.
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  6. The Aesthetic Value of Literary Works in Roman Ingarden’s Philosophy.Hicham Jakha - 2022 - Kultura I Wartości (32):165-185.
    In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and ontology (...)
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  7. Cavendish’s Aesthetic Realism.Daniel Whiting - 2023 - Philosophers' Imprint 23 (15):1-17.
    In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...)
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  8. The Aesthetic Value of the World.Tom Cochrane - 2021 - 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 (...)
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  9. Ugliness Is in the Gut of the Beholder.Ryan P. Doran - 2022 - Ergo: An Open Access Journal of Philosophy 9 (5):88-146.
    I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...)
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  10. The Compass of Beauty: A Search For the Middle.Lars Spuybroek - 2018 - In Maria Voyatzaki (ed.), Architectural Materialisms: Nonhuman Creativity. 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.
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  11. Aesthetic Realism And Metaphor.Julian Jonker - 2009 - Postgraduate Journal of Aesthetics 6 (2).
    One intuition we have about critical discourse is that we can distinguish between aesthetic and non-aesthetic assertions. When we say that a composition has a quick tempo and makes much use of staccato, we are remarking upon non-aesthetic features of the work. When we say of the same composition that it is vibrant, we are, in some sense, referring to an aesthetic feature. How should we draw the line between the aesthetic and non-aesthetic features of a work, and what import (...)
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  12. Transformation of the French Pattern of a Naturalistic Character in Ivan Franko’s Literary Works.Nataliia Yatskiv - 2018 - Kyiv-Mohyla Humanities Journal 5:183-200.
    The article deals with the means of constructing a naturalistic character, the model for which was proposed by French writers: the Goncourt brothers and Émile Zola. Naturalists draw their personage concept from the interpretation of its biological nature. The focus of its depiction is shifted to the study of fundamental features of human nature rather than “variables” of the historical forms of its manifestation. A naturalistic character, being “a biological being” rather than “a set of social relations,” is completely absorbed (...)
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  13. Two Epistemic Issues for a Narrative Argument Structure.Gilbert Plumer - 2018 - In Steve Oswald (ed.), Argumentation and Inference. Proceedings of the 2nd European Conference on Argumentation, Fribourg 2017. College Publications. pp. 519-526.
    The transcendental approach to understanding narrative argument derives from the idea that for any believable fictional narrative, we can ask—what principles or generalizations would have to be true of human nature in order for the narrative to be believable? I address two key issues: whether only realistic or realist fictional narratives are believable, and how could it be established that we have an intuitive, mostly veridical grasp of human nature that grounds believability?
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  14. 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 (...)
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  15. Expressivism and Arguing about Art.Daan Evers - 2018 - British Journal of Aesthetics 58 (2):181-191.
    Peter Kivy claims that expressivists in aesthetics cannot explain why we argue about art. The situation would be different in the case of morals. Moral attitudes lead to action, and since actions affect people, we have a strong incentive to change people’s moral attitudes. This can explain why we argue about morals, even if moral language is expressive of our feelings. However, judgements about what is beautiful and elegant need not significantly affect our lives. So why be concerned with other (...)
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  16. Aesthetic Properties as Powers.Vid Simoniti - 2017 - European Journal of Philosophy 25 (4):1434-1453.
    This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...)
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  17. The Transcendental Argument of the Novel.Gilbert Plumer - 2017 - Journal of the American Philosophical Association 3 (2):148-167.
    Can fictional narration yield knowledge in a way that depends crucially on its being fictional? This is the hard question of literary cognitivism. It is unexceptional that knowledge can be gained from fictional literature in ways that are not dependent on its fictionality (e.g., the science in science fiction). Sometimes fictional narratives are taken to exhibit the structure of suppositional argument, sometimes analogical argument. Of course, neither structure is unique to narratives. The thesis of literary cognitivism would be supported if (...)
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  18. Realism in Film: Less is More.Jiri Benovsky - 2017 - Dialogue 56 (1):131-141.
    What is realism in film? Focusing on a test case of HFR high-definition movies, I discuss in this article various types of realism as well as their interrelations. Precision, recessiveness of the medium, transparency, and 'Collapse' are discussed and compared. At the end of the day, I defend the claim that 'less is more' in the sense that more image precision can actually have a negative impact on storytelling.
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  19. UM PANORAMA INICIAL SOBRE DIMENSÃO ESTÉTICA EM MARCUSE E SUA CRÍTICA AOS ESTETAS DO MARXISMO ORTODOXO.Jair Soares - 2016 - Encontro Nacional Herbert Marcuse.
    The aim of this abstract is to present an overview of the thinking of the philosopher Hebert Marcuse in relation to Art, exposing his criticism of the orthodox conception of Marxist aesthetics, as well as to explain the author 's proposal on art as an essential component of the revolution in opposed to the affirmative culture of the "status quo" and the established ". For such an exposition to the methodology used, it started from a literary and philosophical consultation in (...)
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  20. The Possibility of Aesthetic Realism.Philip Pettit - 1983 - In Eva Schaper (ed.), Pleasure, preference, and value: studies in philosophical aesthetics. New York: Cambridge University Press. pp. 17-38.
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  21. The Compass of Beauty: A Search for the Middle.Lars Spuybroek - 2018 - In Maria Voyatzaki (ed.), Architectural Materialisms: Nonhuman Creativity. Edinburgh University Press.
    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 a competitor of Heidegger’s fourfold.
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  22. Art: A brief history of absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of (...)
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