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Homo Aestheticus: The Invention of Taste in the Democratic Age

(ed.)
University of Chicago Press (1993)

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  1. The art of nature: Hegel and the critique of judgment.Allen Hance - 1998 - International Journal of Philosophical Studies 6 (1):37 – 65.
    This essay examines the reasons for Hegel's frequently professed claim that Kant's Critique of Judgment simultaneously reveals the internal limits of critical philosophy and opens the door to his own system of speculative idealism. It evaluates Hegel's contention that the conceptions of aesthetic experience, organic purposiveness, and the intuitive intellect developed in the third Critique together conspire to undermine the epistemological and metaphysical foundations of the theories of nature and freedom advanced in the first and second Critiques . Finally it (...)
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  • The Critical Theory of Artistic Capitalism.Oana Şerban - 2017 - Hermeneia 18:22-33.
    This article takes up Lipovetsky‟s discussion on artistic capitalism in L’esthétisation du monde. Vivre à l’âge du capitalisme artiste, to trace its definitions and methodological construction, but also in order to create a critical theory of artistic capitalism, based on the following working-hypothesis: the production of art and the production of self, understood in the sense of a Foucauldian project of the aesthetics of existence, represent correspondent purposes in artistic capitalism. My research will be focused on examining previous attempts of (...)
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  • Taste and objectivity: The emergence of the concept of the aesthetic.Elisabeth Schellekens - 2009 - Philosophy Compass 4 (5):734-743.
    Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction (...)
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  • The Origins of Modern Aesthetics: 1711–35.Paul Guyer - 2004 - In Peter Kivy (ed.), Blackwell Guide to Aesthetics. Malden, MA: Wiley-Blackwell. pp. 15–44.
    This chapter contains sections titled: Shaftesbury and Hutcheson Du Bos Addison Baumgarten A Glimpse Ahead: Kant.
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  • Aesthetic opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...)
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  • 18th century German aesthetics.Paul Guyer - 2008 - Stanford Encyclopedia of Philosophy.
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