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  1. Virtues and vices.Philippa Foot - 1997 - In Daniel Statman (ed.), Virtue Ethics: A Critical Reader. Edinburgh University Press. pp. 163--177.
    'Foot stands out among contemporary ethical theorists because of her conviction that virtues and vices are more central ethical notions than rights, duties, justice, or consequences - the primary focus of most other contemporary theorists. This volume brings together a dozen essays published between 1957 and 1977, and includes two new ones as well. In the first, Foot argues explicitly for an ethic of virtue, and in the next five discusses abortion, euthanasia, free will/determination, and the ethics of Hume and (...)
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  • A philosophical enquiry into the origin of our ideas of the sublime and beautiful.Edmund Burke (ed.) - 1759 - Mineola, N.Y.: Dover Publications.
    This eloquent 1757 treatise examines how interactions with the physical world affect formulation of ideals related to beauty and art. Tremendously influential on the development of aesthetic theory, this formative dissertation was among the first explorations of the concept of the sublime and remains a thought-provoking study for modern readers.
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  • 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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  • True Beauty.Ryan P. Doran - forthcoming - British Journal of Aesthetics.
    What is the nature of the concept BEAUTY? Does it differ fundamentally from nearby concepts such as PRETTINESS? It is argued that BEAUTY, but not PRETTINESS, is a dual-character concept. Across a number of contexts, it is proposed that BEAUTY has a descriptive sense that is characterised by, inter alia, having intrinsically pleasing appearances; and a normative sense associated with deeply-held values. This account is supported across two, pre-registered, studies (N=500), and by drawing on analysis of corpus data. It is (...)
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  • Observations on the feeling of the beautiful and sublime.Immanuel Kant - 1960 - Berkeley,: University of California Press. Edited by Immanuel Kant.
    Kant's only aesthetic work apart from the Critique of Judgment , Observations on the Feeling of the Beautiful and Sublime gives the reader a sense of the personality and character of its author as he sifts through the range of human responses to the concept of beauty and human manifestations of the beautiful and sublime. Kant was fifty-eight when the first of his great Critical trilogy, the Critique of Pure Reason , was published. Observations offers a view into the mind (...)
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  • 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 (...)
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  • The metaphysics of beauty.Nick Zangwill - 2001 - Ithaca: Cornell University Press.
    In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of things.
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  • The Concept of Expression.Alan Tormey - 1974 - Philosophical Review 83 (2):247-252.
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  • Moral cacophony: When continence is a virtue.Karen E. Stohr - 2003 - The Journal of Ethics 7 (4):339-363.
    Contemporary virtue ethicists widely accept thethesis that a virtuous agent''s feelings shouldbe in harmony with her judgments about what sheshould do and that she should find virtuousaction easy and pleasant. Conflict between anagent''s feelings and her actions, by contrast,is thought to indicate mere continence – amoral deficiency. This ``harmony thesis'''' isgenerally taken to be a fundamental element ofAristotelian virtue ethics.I argue that the harmony thesis, understoodthis way, is mistaken, because there areoccasions where a virtuous agent will findright action painful and (...)
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  • The Continence of Virtue.Geoffrey Scarre - 2012 - Philosophical Investigations 36 (1):1-19.
    Many recent writers in the virtue ethics tradition have followed Aristotle in arguing for a distinction between virtue and continence, where the latter is conceived as an inferior moral condition. In this paper I contend that rather than seeking to identify a sharp categorical difference between virtue and continence, we should see the contrast as rather one of degree, where virtue is a continence that has matured with practice and habit, becoming more stable, effective and self-aware.
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  • The dreariness of aesthetics.John Arthur Passmore - 1951 - Mind 60 (239):318-335.
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  • The Empirical Case for Moral Beauty.Panos Paris - 2018 - Australasian Journal of Philosophy 96 (4):642-656.
    ABSTRACTAlthough formative of modern value theory, the moral beauty view—which states that moral virtue is beautiful and moral vice is ugly—is now mostly neglected by philosophers. The two contemporary defences of the view mostly capitalize on its intuitive attractiveness, but to little avail: such considerations hardly convince sceptics of what is nowadays a rather unpopular view. Historically, the view was supported by thought experiments; and although these greatly increase its plausibility, they also raise empirical questions, which they leave unanswered. Here, (...)
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  • The Pleasure of Art.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):6-28.
    This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...)
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  • Schiller on Freedom and Aesthetic Value: Part I.Samantha Matherne & Nick Riggle - 2020 - British Journal of Aesthetics 60 (4):375-402.
    In his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his (...)
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  • Metaphors we live by.George Lakoff & Mark Johnson - 1980 - Chicago: University of Chicago Press. Edited by Mark Johnson.
    The now-classic Metaphors We Live By changed our understanding of metaphor and its role in language and the mind. Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by"--metaphors that can shape our perceptions and actions without our ever noticing them. In (...)
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  • Aesthetic appreciation.Gary Iseminger - 1981 - Journal of Aesthetics and Art Criticism 39 (4):389-397.
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  • Schiller and the dance of beauty.Stephen Houlgate - 2008 - Inquiry: An Interdisciplinary Journal of Philosophy 51 (1):37 – 49.
    Frederick Beiser’s study, Schiller as Philosopher, is a work of outstanding philosophical intelligence and exemplary scholarship. This is good news for the student of Schiller. It is, however, somewhat less good news for the aspiring critic of Beiser—at least for this aspiring critic, for there is little that I disagree with, and a very great deal that I admire, in Beiser’s book. Particularly valuable—to mention just one of the book’s many merits—is Beiser’s subtle and illuminating account of the relation between (...)
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  • 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.
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  • Virtues and Vices.Philippa Foot - 1983 - Noûs 17 (1):117-121.
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  • The Unity of Imagining.Fabian Dorsch - 2012 - De Gruyter.
    Please send me an email ([email protected]) if you wish to receive a copy of the book. — 'In this highly ambitious, wide ranging, immensely impressive and ground-breaking work Fabian Dorsch surveys just about every account of the imagination that has ever been proposed. He identifies five central types of imagining that any unifying theory must accommodate and sets himself the task of determining whether any theory of what imagining consists in covers these five paradigms. Focussing on what he takes to (...)
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  • Thick and Perceptual Moral Beauty.Ryan P. Doran - 2022 - Australasian Journal of Philosophy:1-18.
    Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues (...)
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  • Thick and Perceptual Moral Beauty.Ryan P. Doran - 2023 - Australasian Journal of Philosophy 101 (3):704-721.
    Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion—ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues are (...)
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  • Restorative Aesthetic Pleasures and the Restoration of Pleasure.Ryan Paul Doran - 2017 - Australasian Philosophical Review 1 (1):73-78.
    I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis aesthetic pleasure.
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  • Moral Beauty, Inside and Out.Ryan P. Doran - 2021 - Australasian Journal of Philosophy 99 (2):396-414.
    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.
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  • Being moved.Florian Cova & Julien Deonna - 2014 - Philosophical Studies (3):1-20.
    In this paper, we argue that, barring a few important exceptions, the phenomenon we refer to using the expression “being moved” is a distinct type of emotion. In this paper’s first section, we motivate this hypothesis by reflecting on our linguistic use of this expression. In section two, pursuing a methodology that is both conceptual and empirical, we try to show that the phenomenon satisfies the five most commonly used criteria in philosophy and psychology for thinking that some affective episode (...)
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  • The Beautiful Soul and the Autocratic Agent: Schiller's and Kant's "Children of the House".Anne Margaret Baxley - 2003 - Journal of the History of Philosophy 41 (4):493-514.
    In his extended essay "On Grace and Dignity," Friedrich Schiller sets out an important challenge to Kant when he argues that sensibility must play a constitutive role in the ethical life. This paper argues that there is much we can learn from Schiller's "corrective" to Kant's moral theory and Kant's reply to this critique, for what is at stake in their debate are rival conceptions of the proper state of moral health for us as finite rational beings and competing political (...)
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  • Motivational Internalism & Disinterestedness.Ryan P. Doran - forthcoming - British Journal of Aesthetics.
    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 show 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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  • Hegel on Beauty.Julia Peters - 2014 - New York: Routledge.
    While the current philosophical debate surrounding Hegel’s aesthetics focuses heavily on the philosopher’s controversial ‘end of art’ thesis, its participants rarely give attention to Hegel’s ideas on the nature of beauty and its relation to art. This study seeks to remedy this oversight by placing Hegel’s views on beauty front and center. Peters asks us to rethink the common assumption that Hegelian beauty is exclusive to art and argues that for Hegel beauty, like art, is subject to historical development. Her (...)
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  • Schiller's "On grace and dignity" in its cultural context: essays and a new translation.Jane Veronica Curran, Christophe Fricker & Friedrich Schiller (eds.) - 2005 - Rochester, N.Y.: Camden House.
    This is the first English scholarly edition of this pivotal essay, accompanied by the first comprehensive commentary on it.
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  • On Virtue Ethics.Rosalind Hursthouse - 1999 - Oxford: Oxford University Press.
    Virtue ethics is perhaps the most important development within late twentieth-century moral philosophy. Rosalind Hursthouse, who has made notable contributions to this development, here presents a full exposition and defense of her neo-Aristotelian version of virtue ethics. She shows how virtue ethics can provide guidance for action, illuminate moral dilemmas, and bring out the moral significance of the emotions.
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  • The concept of the aesthetic.James Shelley - 2017 - Stanford Encyclopedia of Philosophy.
    Introduced into the philosophical lexicon during the Eighteenth Century, the term ‘aesthetic’ has come to be used to designate, among other things, a kind of object, a kind of judgment, a kind of attitude, a kind of experience, and a kind of value. For the most part, aesthetic theories have divided over questions particular to one or another of these designations: whether artworks are necessarily aesthetic objects; how to square the allegedly perceptual basis of aesthetic judgments with the fact that (...)
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  • Kallias, or Concerning Beauty: Letters to Gottfried Körner.Friedrich Schiller - 2003 - In J. M. Bernstein (ed.), Classic and Romantic German Aesthetics. Cambridge University Press. pp. 145--83.
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  • Literary aesthetics and the aims of criticism.Paisley Nathan Livingston - unknown
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  • The Corded Shell: Reflections on Musical Expression.Peter Kivy - 1980 - Philosophy and Rhetoric 17 (1):47-55.
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  • Metaphors We Live By.George Lakoff & Mark Johnson - 1980 - Ethics 93 (3):619-621.
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  • Art, Emotion and Ethics.Berys Gaut - 2008 - Journal of Aesthetics and Art Criticism 66 (2):199-201.
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  • An Analysis of Knowledge and Valuation.C. I. Lewis - 1949 - Review of Metaphysics 2 (7):99-115.
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