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Aesthetic concepts

British Journal of Aesthetics 10 (4):303-322 (1970)

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  1. Heidegger and the romantics: the literary invention of meaning.Pol Vandevelde - 2012 - New York: Routledge.
    <P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...)
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  • Aesthetic Implicitness in Sport and the Role of Aesthetic Concepts.Lesley Wright - 2003 - Journal of the Philosophy of Sport 30 (1):83-92.
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  • Presentational Objects and their Interpretation.David Pole - 1972 - Royal Institute of Philosophy Lectures 6:147-164.
    The work of artists is to make works of art, and of theorists theoretical works. In our ordinary dealings with such things, elusive as ontologists may find them, we seem to know well enough in either instance how we should regard and handle them. Ontological questions are none the less raised: what species of entity may they be? It is a question, I confess, to which I could never respond with much enthusiasm. My own interest in art is more ordinary; (...)
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  • Imagination in the Experience of Art.R. K. Elliott - 1972 - Royal Institute of Philosophy Lectures 6:88-105.
    In this paper I shall not be concerned with the imagination as insight, but only with certain aspects of ‘magical’ imagination, that division of the concept which centres upon the notion of an image. In the Philosophical Investigations Wittgenstein makes the extremely interesting remark that when a printed triangle is seen, for instance, as a mountain, it is as if an image came into contact, and for a time remained in contact, with the visual impression. He goes on to say (...)
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  • Presentational Objects and their Interpretation.David Pole - 1972 - Royal Institute of Philosophy Lectures 6:147-164.
    The work of artists is to make works of art, and of theorists theoretical works. In our ordinary dealings with such things, elusive as ontologists may find them, we seem to know well enough in either instance how we should regard and handle them. Ontological questions are none the less raised: what species of entity may they be? It is a question, I confess, to which I could never respond with much enthusiasm. My own interest in art is more ordinary; (...)
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  • Imagination in the Experience of Art.R. K. Elliott - 1972 - Royal Institute of Philosophy Lectures 6:88-105.
    In this paper I shall not be concerned with the imagination as insight, but only with certain aspects of ‘magical’ imagination, that division of the concept which centres upon the notion of an image. In the Philosophical Investigations Wittgenstein makes the extremely interesting remark that when a printed triangle is seen, for instance, as a mountain, it is as if an image came into contact, and for a time remained in contact, with the visual impression . He goes on to (...)
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