Switch to: Citations

Add references

You must login to add references.
  1. The Metaphysics of Beauty.Nick Zangwill - 2001 - Ithaca: Cornell University Press.
    In chapters ranging from "The Beautiful, the Dainty, and the Dumpy" to "Skin-deep or In the Eye of the Beholder?" Nick Zangwill investigates the nature of beauty as we conceive it, and as it is in itself. The notion of beauty is currently attracting increased interest, particularly in philosophical aesthetics and in discussions of our experiences and judgments about art. In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of (...)
    Download  
     
    Export citation  
     
    Bookmark   75 citations  
  • Art, Emotion and Ethics.Berys Gaut - 2008 - Journal of Aesthetics and Art Criticism 66 (2):199-201.
    Download  
     
    Export citation  
     
    Bookmark   111 citations  
  • Dispositional Theories of Value.Michael Smith, David Lewis & Mark Johnston - 1989 - Aristotelian Society Supplementary Volume 63 (1):89-174.
    Download  
     
    Export citation  
     
    Bookmark   411 citations  
  • Philosophy of Art: A Contemporary Introduction.Noël Carroll - 1999 - New York: Routledge.
    _Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching (...)
    Download  
     
    Export citation  
     
    Bookmark   47 citations  
  • Aesthetics and the Philosophy of Art: An Introduction.Robert Stecker - 2005 - Rowman & Littlefield Publishers.
    Aesthetics and the Philosophy of Art is an essential introduction to some of the central topics and approaches being debated in contemporary aesthetics and philosophy of art. By taking a stand on each of the issues addressed and arguing for certain resolutions and against others, the text does not simply present a controversy in its current state of play, but instead helps to advance it toward a solution.
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • Art, emotion and ethics.Berys Gaut - 2007 - New York: Oxford University Press.
    The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.
    Download  
     
    Export citation  
     
    Bookmark   57 citations  
  • The Oxford handbook of aesthetics.Jerrold Levinson (ed.) - 2003 - New York: Oxford University Press.
    The Oxford Handbook of Aesthetics brings the authority, liveliness, and multi-disciplinary scope of the Handbook series to a fascinating theme in philosophy and the arts. Jerrold Levinson has assembled a hugely impressive range of talent to contribute 48 brand-new essays, making this the most comprehensive guide available to the theory, application, history, and future of the field. This Handbook will be invaluable to academics and students across philosophy and all branches of the arts, both as the reference work of choice (...)
    Download  
     
    Export citation  
     
    Bookmark   14 citations  
  • Aesthetic concepts: essays after Sibley.Emily Brady & Jerrold Levinson (eds.) - 2001 - New York: Oxford University Press.
    Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.
    Download  
     
    Export citation  
     
    Bookmark   13 citations  
  • Approach to aesthetics: collected papers on philosophical aesthetics.Frank Sibley (ed.) - 2001 - New York: Oxford University Press.
    A complete collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years. It addresses many topics, among them the nature of aesthetic qualities versus non-aesthetic qualities, the relation of aesthetic description to aesthetic evaluation, the different levels of evaluation, and the objectivity of aesthetic judgement. The later papers constitute both a significant development of Sibley's individual approach to aesthetics, such as his discussion of the distinction between attributive and predicative (...)
    Download  
     
    Export citation  
     
    Bookmark   33 citations  
  • Aesthetic value.Alan H. Goldman - 1995 - Boulder, Colo.: Westview Press.
    In this concise survey, intended for advanced undergraduate students of aesthetics, Alan Goldman focuses on the question of aesthetic value, using many practical examples from painting, music, and literature to make his case. Although he treats a wide variety of views, he argues for a nonrealist view of aesthetic value, showing that the personal element can never be factored out of evaluative aesthetic judgments and explaining why this is so.
    Download  
     
    Export citation  
     
    Bookmark   45 citations  
  • Truth and objectivity.Crispin Wright - 1992 - Cambridge: Harvard University Press.
    Recasting important questions about truth and objectivity in new and helpful terms, his book will become a focus in the contemporary debates over realism, and ...
    Download  
     
    Export citation  
     
    Bookmark   669 citations  
  • The aesthetic point of view: selected essays.Monroe C. Beardsley - 1982 - Ithaca, N.Y.: Cornell University Press. Edited by Michael J. Wreen & Donald M. Callen.
    Essays explore the philosophy of art, the definition of a work of art, the aims of art criticism, and the nature of creativity.
    Download  
     
    Export citation  
     
    Bookmark   18 citations  
  • The aesthetics of mirror reversal.Roy Sorensen - 2000 - Philosophical Studies 100 (2):175-191.
    A flop is a picture that mirror reverses the original scene. Some flops are reversed copies. For instance, mirror reversal is systematic with technologies that require contact between a template and an imprint surface. Other flops are just pictures that have undergone the operation of flopping. For example, a slide that is inserted backwards into a projector is a flop.
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • Aesthetic testimony: What can we learn from others about beauty and art?Aaron Meskin - 2004 - Philosophy and Phenomenological Research 69 (1):65–91.
    The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted--even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most (...)
    Download  
     
    Export citation  
     
    Bookmark   66 citations  
  • Kant, quasi-realism, and the autonomy of aesthetic judgement.Robert Hopkins - 2001 - European Journal of Philosophy 9 (2):166–189.
    Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one's mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...)
    Download  
     
    Export citation  
     
    Bookmark   47 citations  
  • The Quest for objectivity: Secondary qualities and aesthetic qualities.Iuliana Corina Vaida - 1998 - Journal of Aesthetics and Art Criticism 56 (3):283-297.
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Quasi-realism, acquaintance, and the normative claims of aesthetic judgement.Cain Samuel Todd - 2004 - British Journal of Aesthetics 44 (3):277-296.
    My primary aim in this paper is to outline a quasi-realist theory of aesthetic judgement. Robert Hopkins has recently argued against the plausibility of this project because he claims that quasi-realism cannot explain a central component of any expressivist understanding of aesthetic judgements, namely their supposed ‘autonomy’. I argue against Hopkins’s claims by contending that Roger Scruton’s aesthetic attitude theory, centred on his account of the imagination, provides us with the means to develop a plausible quasi-realist account of aesthetic judgement. (...)
    Download  
     
    Export citation  
     
    Bookmark   15 citations  
  • Towards a reasonable objectivism for aesthetic judgements.Elisabeth Schellekens - 2006 - British Journal of Aesthetics 46 (2):163-177.
    This paper is concerned with the possibility of an objectivism for aesthetic judgements capable of incorporating certain ‘subjectivist’ elements of aesthetic experience. The discussion focuses primarily on a desired cognitivism for aesthetic judgements, rather than on any putative realism of aesthetic properties. Two cognitivist theories of aesthetic judgements are discussed, one subjectivist, the other objectivist. It is argued that whilst the subjectivist theory relies too heavily upon analogies with secondary qualities, the objectivist account, which allows for some such analogies at (...)
    Download  
     
    Export citation  
     
    Bookmark   15 citations  
  • The autonomy of aesthetic judgement.Andrew McGonigal - 2006 - British Journal of Aesthetics 46 (4):331-348.
    In recent work, Robert Hopkins has argued that aesthetic judgements are autonomous. When a subject finds herself diverging in judgement from a group of others who, while independently applying the same method, have come to some opposing conclusion, then for ordinary empirical matters this is often reason enough for her to suspend judgement, or even to adopt their view, but this happens much more rarely in the case of beauty. Moreover, the opposing view does not act as a defeater to (...)
    Download  
     
    Export citation  
     
    Bookmark   18 citations  
  • Scruton, Sibley, and supervenience.John E. Mackinnon - 2000 - Journal of Aesthetics and Art Criticism 58 (4):383-392.
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • The concept of an aesthetic property.Rafael DeClercq - 2002 - Journal of Aesthetics and Art Criticism 60 (2):167–176.
    This paper provides an analysis of the concept of an aesthetic property in non-aesthetic terms.
    Download  
     
    Export citation  
     
    Bookmark   12 citations  
  • The aesthetic peculiarity of multifunctional artefacts.Rafael De Clercq - 2005 - British Journal of Aesthetics 45 (4):412-425.
    Echoing a distinction made by David Wiggins in his discussion of the relation of identity, this paper investigates whether aesthetic adjectives such as ‘beautiful’ are sortal-relative or merely sortal-dependent. The hypothesis guiding the paper is that aesthetic adjectives, though probably sortal-dependent in general, are sortal-relative only when used to characterize multifunctional artefacts. This means that multifunctional artefacts should be unique in allowing the following situation to occur: for some object x there are sortals K and K' such that x is (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • A note on the aesthetics of mirror reversal.Rafael Clercq - 2007 - Philosophical Studies 132 (3):553 - 563.
    According to Roy Sorensen [Philosophical Studies 100 (2000) 175–191] an object cannot differ aesthetically from its mirror image. On his view, mirror-reversing an object – changing its left/right orientation – cannot bring about any aesthetic change. However, in arguing for this thesis Sorensen assumes that aesthetic properties supervene on intrinsic properties alone. This is a highly controversial assumption and nothing is offered in its support. Moreover, a plausible weakening of the assumption does not improve the argument. Finally, Sorensen’s second argument (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Aesthetic experience revisited.Noël Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
    In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.
    Download  
     
    Export citation  
     
    Bookmark   31 citations  
  • Aesthetic realism and emotional qualities of music.Malcolm Budd - 2005 - British Journal of Aesthetics 45 (2):111-122.
    Roger Scruton appears to have been the first to argue for and articulate an anti-realist theory of aesthetic properties. In the case of emotional qualities of music, his principal argument against realism is unsound and cannot, I believe, be repaired. Nevertheless an anti-realist view of emotional qualities of music is in my view correct and I defend Scruton's insight against a rival realist conception. However, I prefer a rather different form of anti-realism to Scruton's.
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • The acquaintance principle.Malcolm Budd - 2003 - British Journal of Aesthetics 43 (4):386-392.
    The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility (...)
    Download  
     
    Export citation  
     
    Bookmark   66 citations  
  • The intersubjective validity of aesthetic judgements.Malcolm Budd - 2007 - British Journal of Aesthetics 47 (4):333-371.
    All aesthetic judgements, whether descriptive, evaluative or some combination of the two, and whatever they might be about, whether works of art, artefacts of other kinds, or natural things, declare themselves to be, not mere announcements or expressions of personal responses to the objects of judgement, but claims meriting the agreement of others. Despite the frequent appeal in everyday life to the nihilistic interpretation of the saying ‘It's all a matter of taste’, the doctrine of aesthetic nihilism—the view that such (...)
    Download  
     
    Export citation  
     
    Bookmark   16 citations  
  • Realism, supervenience, and irresolvable aesthetic disputes.John W. Bender - 1996 - Journal of Aesthetics and Art Criticism 54 (4):371-381.
    Download  
     
    Export citation  
     
    Bookmark   16 citations  
  • (3 other versions)Aesthetic Properties.Derek Matravers - 2005 - Aristotelian Society Supplementary Volume 79 (1):191-210.
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • What is Wrong With Moral Testimony?Robert Hopkins - 2007 - Philosophy and Phenomenological Research 74 (3):611-634.
    Is it legitimate to acquire one’s moral beliefs on the testimony of others? The pessimist about moral testimony says not. But what is the source of the difficulty? Here pessimists have a choice. On the Unavailability view, moral testimony never makes knowledge available to the recipient. On Unusability accounts, although moral testimony can make knowledge available, some further norm renders it illegitimate to make use of the knowledge thus offered. I suggest that Unusability accounts provide the strongest form of pessimist (...)
    Download  
     
    Export citation  
     
    Bookmark   127 citations  
  • Aesthetic experience and aesthetic value.Robert Stecker - 2006 - Philosophy Compass 1 (1):1–10.
    What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.
    Download  
     
    Export citation  
     
    Bookmark   31 citations  
  • The aesthetic point of view.Monroe C. Beardsley - 1970 - Metaphilosophy 1 (1):39–58.
    Download  
     
    Export citation  
     
    Bookmark   49 citations  
  • (1 other version)Critical communication.Arnold Isenberg - 1949 - Philosophical Review 58 (4):330-344.
    Download  
     
    Export citation  
     
    Bookmark   44 citations  
  • IIJerrold Levinson.Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79 (1):211-227.
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  • Quasi-realism, acquaintance, and the normative claims of aesthetic judgement.C. Samuel Todd - 2004 - British Journal of Aesthetics 44 (3):277-296.
    Download  
     
    Export citation  
     
    Bookmark   10 citations  
  • Derek Matravers.Derek Matravers & Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79 (1):191–210.
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • What makes "aesthetic" terms aesthetic?Peter Kivy - 1975 - Philosophy and Phenomenological Research 36 (2):197-211.
    Download  
     
    Export citation  
     
    Bookmark   8 citations  
  • The Oxford Handbook of Aesthetics.Jerrold Levinson - 2003 - Tijdschrift Voor Filosofie 65 (3):582-583.
    Download  
     
    Export citation  
     
    Bookmark   16 citations  
  • Aesthetic Experience Revisited.NoË Carroll - 2002 - British Journal of Aesthetics 42 (2):145-168.
    Download  
     
    Export citation  
     
    Bookmark   27 citations  
  • Objectivity refigured: Pragmatism without verificationism.Mark Johnston - 1993 - In John Haldane & Crispin Wright (eds.), Reality, representation, and projection. New York: Oxford University Press. pp. 85--130.
    Download  
     
    Export citation  
     
    Bookmark   99 citations  
  • Two conceptions of response-dependence.Rafael De Clercq - 2002 - Philosophical Studies 107 (2):159-177.
    The traditional conception of response-dependence isinadequate because it cannot account for all intuitivecases of response-dependence. In particular, it is unableto account for the response-dependence of (aesthetic, moral, epistemic ...) values. I therefore propose tosupplement the traditional conception with an alternativeone. My claim is that only a combination of the twoconceptions is able to account for all intuitivecases of response-dependence.
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  • Moral values, projection, and secondary qualities.Crispin Wright - 1988 - Aristotelian Society Supplementary Volume 62 (1):1-26.
    Download  
     
    Export citation  
     
    Bookmark   90 citations  
  • (1 other version)Real Beauty.Eddy M. Zemach - 1999 - Philosophical Quarterly 49 (196):395-398.
    Download  
     
    Export citation  
     
    Bookmark   17 citations  
  • (1 other version)II—Jerrold Levinson.Derek Matravers - 2005 - Supplement to the Proceedings of the Aristotelian Society 79 (1):211-227.
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  • Aesthetic judgements, aesthetic principles and aesthetic properties.Malcolm Budd - 1999 - European Journal of Philosophy 7 (3):295–311.
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • On an apparent truism in aesthetics.Paisley Nathan Livingston - 2003 - British Journal of Aesthetics 43 (3):260-278.
    It has often been claimed that adequate aesthetic judgements must be grounded in the appreciator's first-hand experience of the item judged. Yet this apparent truism is misleading if adequate aesthetic judgements can instead be based on descriptions of the item or on acquaintance with some surrogate for it. In a survey of responses to such challenges to the apparent truism, I identify several contentions presented in its favour, including stipulative definitions of ‘aesthetic judgement’, assertions about conceptual gaps between determinate aesthetic (...)
    Download  
     
    Export citation  
     
    Bookmark   40 citations  
  • Aesthetic Concepts.Derek Matravers - 2005 - Supplement to the Proceedings of the Aristotelian Society 79 (1):191-210.
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  • (1 other version)Jerrold Levinson.Derek Matravers & Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79 (1):211–227.
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  • The characterization of aesthetic qualities by essential metaphors and quasi-metaphors.Malcolm Budd - 2006 - British Journal of Aesthetics 46 (2):133-143.
    My paper examines a vital but neglected aspect of Frank Sibley's pioneering account of aesthetic concepts. This is the claim that many aesthetic qualities are such that they can be characterized adequately only by metaphors or ‘quasi-metaphors’. Although there is no indication that Sibley embraced it, I outline a radical, minimalist conception of the experience of perceiving an item as possessing an aesthetic quality, which, I believe, has wide application and which would secure Sibley's position for those aesthetic qualities that (...)
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  • Aesthetic concepts and aesthetic experiences.Derek Matravers - 1996 - British Journal of Aesthetics 36 (3):265-279.
    In this paper I want to return to some well-worn ideas; specifically, the attempt to show that there is a distinctive subject-matter of the aesthetic via consideration of the difference between aesthetic and non-aesthetic concepts. The classic exposition of this distinction is Frank Sibley's 'Aesthetic Concepts'. Sibley claimed that, given a set of relevant terms, there will be widespread non-collusive agreement as to which are aesthetic and which non-aesthetic. Non-aesthetic terms include _'red, noisy, brackish, clammy, square, docile, curved, evanescent, intelligent, (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations