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Aesthetic knowledge

Philosophical Studies 179 (8):2507-2535 (2022)

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  1. Belief, Inference, and the Self-Conscious Mind.Eric Marcus - 2021 - Oxford, United Kingdom: Oxford University Press.
    It is impossible to hold patently contradictory beliefs in mind together at once. Why? Because we know that it is impossible for both to be true. This impossibility is a species of rational necessity, a phenomenon that uniquely characterizes the relation between one person's beliefs. Here, Eric Marcus argues that the unity of the rational mind--what makes it one mind--is what explains why, given what we already believe, we can't believe certain things and must believe certain others in this special (...)
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  • Wanting and willing.Eric Marcus - 2020 - European Journal of Philosophy 29 (4):887-899.
    How homogenous are the sources of human motivation? Textbook Humeans hold that every human action is motivated by desire, thus any heterogeneity derives from differing objects of desire. Textbook Kantians hold that although some human actions are motivated by desire, others are motivated by reason. One question in this vicinity concerns whether there are states such that to be in one is at once take the world to be a certain way and to be motivated to act: the state-question. My (...)
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  • Aesthetic Emotions.Jenefer Robinson - 2020 - The Monist 103 (2):205-222.
    This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...)
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  • Moral motivation and the affective appeal.Jennifer Corns & Robert Cowan - 2020 - Philosophical Studies 178 (1):71-94.
    Proponents of “the affective appeal” :787–812, 2014; Zagzebski in Philos Phenomenol Res 66:104–124, 2003) argue that we can make progress in the longstanding debate about the nature of moral motivation by appealing to the affective dimension of affective episodes such as emotions, which allegedly play either a causal or constitutive role in moral judgements. Specifically, they claim that appealing to affect vindicates a version of Motivational Internalism—roughly, the view that there is a necessary connection between moral judgment and motivation—that is (...)
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  • Autonomy and Aesthetic Engagement.C. Thi Nguyen - 2019 - Mind 129 (516):1127-1156.
    There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...)
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  • On Liking Aesthetic Value.Keren Gorodeisky - 2019 - Philosophy and Phenomenological Research 102 (2):261-280.
    According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...)
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  • Why Do Desires Rationalize Actions?Alex Gregory - 2018 - Ergo: An Open Access Journal of Philosophy 5.
    I begin the paper by outlining one classic argument for the guise of the good: that we must think that desires represent their objects favourably in order to explain why they can make actions rational (Quinn 1995; Stampe 1987). But what exactly is the conclusion of this argument? Many have recently formulated the guise of the good as the view that desires are akin to perceptual appearances of the good (Oddie 2005; Stampe 1987; Tenenbaum 2007). But I argue that this (...)
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  • Critical Compatibilism.James Shelley - 2004 - In Dominic Lopes & Matthew Kieran (eds.), Knowing Art: Essays in Epistemology and Aesthetics. Springer. pp. 125-136.
    Isenbergian particularism is the view that we make no appeal to general principles in criticism. Sibleyan generalism is the view that we do make appeal to general reasons in criticism. I argue that Isenbergian particularism and Sibleyan generalism are compatible one with another. I refer to their conjunction as "critical compatibilism" and argue that we ought to accept it over its rivals: strong particularism (the view that we make appeal neither to general principles nor to general reasons in criticism) and (...)
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  • Reconciling Practical Knowledge with Self-Deception.Eric Marcus - 2019 - Mind 128 (512):1205-1225.
    Is it impossible for a person to do something intentionally without knowing that she is doing it? The phenomenon of self-deceived agency might seem to show otherwise. Here the agent is not lying, yet disavows a correct description of her intentional action. This disavowal might seem expressive of ignorance. However, I show that the self-deceived agent does know what she's doing. I argue that we should understand the factors that explain self-deception as masking rather than negating the practical knowledge characteristic (...)
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  • The Affective Experience of Aesthetic Properties.Kris Goffin - 2018 - Pacific Philosophical Quarterly 100 (1):283-300.
    It is widely agreed upon that aesthetic properties, such as grace, balance, and elegance, are perceived. I argue that aesthetic properties are experientially attributed to some non‐perceptible objects. For example, a mathematical proof can be experienced as elegant. In order to give a unified explanation of the experiential attribution of aesthetic properties to both perceptible and non‐perceptible objects, one has to reject the idea that aesthetic properties are perceived. I propose an alternative view: the affective account. I argue that the (...)
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  • Aesthetic Rationality.Keren Gorodeisky & Eric Marcus - 2018 - Journal of Philosophy 115 (3):113-140.
    We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...)
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  • Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
    Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...)
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  • (1 other version)The Aesthetic Function of Art.Gary Iseminger - 2005 - Journal of Aesthetics and Art Criticism 63 (4):385-386.
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  • (1 other version)The Rationality of Perception.Susanna Siegel - 2017 - Oxford University Press.
    There is an important division in the human mind between perception and reasoning. We reason from information that we have already, but perception is a means of taking in new information. Susanna Siegel argues that these two aspects of the mind become deeply intertwined when beliefs, fears, desires, or prejudice influence what we perceive.
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  • Taking the Perceptual Analogy Seriously.Michael Milona - 2016 - Ethical Theory and Moral Practice 19 (4):897-915.
    This paper offers a qualified defense of a historically popular view that I call sentimental perceptualism. At a first pass, sentimental perceptualism says that emotions play a role in grounding evaluative knowledge analogous to the role perceptions play in grounding empirical knowledge. Recently, András Szigeti and Michael Brady have independently developed an important set of objections to this theory. The objections have a common structure: they begin by conceding that emotions have some important epistemic role to play, but then go (...)
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  • (1 other version)Art and its Objects.Richard Wollheim - 1968 - Cambridge, United Kingdom: Cambridge University Press. Edited by Richard Thomas Eldridge.
    Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the part they (...)
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  • Upheavals of Thought: The Intelligence of Emotions.Martha C. Nussbaum - 2001 - Cambridge University Press.
    Emotions shape the landscape of our mental and social lives. Like geological upheavals in a landscape, they mark our lives as uneven, uncertain and prone to reversal. Are they simply, as some have claimed, animal energies or impulses with no connection to our thoughts? Or are they rather suffused with intelligence and discernment, and thus a source of deep awareness and understanding? In this compelling book, Martha C. Nussbaum presents a powerful argument for treating emotions not as alien forces but (...)
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  • Emotional Reason: Deliberation, Motivation, and the Nature of Value.Bennett W. Helm - 2001 - New York: Cambridge University Press.
    How can we motivate ourselves to do what we think we ought? How can we deliberate about personal values and priorities? Bennett Helm argues that standard philosophical answers to these questions presuppose a sharp distinction between cognition and conation that undermines an adequate understanding of values and their connection to motivation and deliberation. Rejecting this distinction, Helm argues that emotions are fundamental to any account of value and motivation, and he develops a detailed alternative theory both of emotions, desires and (...)
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  • Appearances of the Good: An Essay on the Nature of Practical Reason.Sergio Tenenbaum - 2007 - New York: Cambridge University Press.
    'We desire all and only those things we conceive to be good; we avoid what we conceive to be bad.' This slogan was once the standard view of the relationship between desire or motivation and rational evaluation. Many critics have rejected this scholastic formula as either trivial or wrong. It appears to be trivial if we just define the good as 'what we want', and wrong if we consider apparent conflicts between what we seem to want and what we seem (...)
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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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  • 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 (...)
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  • Upheavals of Thought.Martha Nussbaum - 2001 - Journal of Religious Ethics 31 (2):325-341.
    In "Upheavals of Thought", Martha Nussbaum offers a theory of the emotions. She argues that emotions are best conceived as thoughts, and she argues that emotion-thoughts can make valuable contributions to the moral life. She develops extensive accounts of compassion and erotic love as thoughts that are of great moral import. This paper seeks to elucidate what it means, for Nussbaum, to say that emotions are forms of thought. It raises critical questions about her conception of the structure of emotion, (...)
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  • Kant, Proust, and the Appeal of Beauty.Richard Moran - 2012 - Critical Inquiry 38 (2):298-329.
    Beauty is a contested concept insofar as it seeks to mark a categorical distinction among the sources of pleasure, typically in terms of oppositions such as objective/subjective, universal/particular, necessity/contingency. Kant represents a culmination of this tradition in defining the judgment of beauty in terms of the requirement for universal agreement, modeling the judgment of beauty as closely as possible to ordinary factual judgments. A different tradition of thinking about beauty, however, while still seeking to mark a categorical distinction by reference (...)
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  • The Critical Imagination.James Eric Grant - 2013 - Oxford, GB: Oxford University Press.
    The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, (...)
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  • (1 other version)Cognitive Penetration and the Perception of Art (Winner of 2012 Dialectica Essay Prize).Dustin Stokes - 2014 - Dialectica 68 (1):1-34.
    There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it (...)
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  • What is inference?Paul Boghossian - 2014 - Philosophical Studies 169 (1):1-18.
    In some previous work, I tried to give a concept-based account of the nature of our entitlement to certain very basic inferences (see the papers in Part III of Boghossian 2008b). In this previous work, I took it for granted, along with many other philosophers, that we understood well enough what it is for a person to infer. In this paper, I turn to thinking about the nature of inference itself. This topic is of great interest in its own right (...)
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  • From Normativity to Responsibility.Joseph Raz - 2011 - Oxford, GB: Oxford University Press.
    What are our duties or rights? How should we act? What are we responsible for? Joseph Raz examines the philosophical issues underlying these everyday questions. He explores the nature of normativity--the reasoning behind certain beliefs and emotions about how we should behave--and offers a novel account of responsibility.
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  • Rational causation.Eric Marcus - 2012 - Cambridge: Harvard University Press.
    Introduction -- Rational explanation of belief -- Rational explanation of action -- (Non-human) animals and their reasons -- Rational explanation and rational causation -- Events and states -- Physicalism.
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  • Singular thought and the extent of 'inner space'.John McDowell - 1986 - In Philip Pettit (ed.), Subject, Thought, And Context. NY: Clarendon Press.
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  • Formalism in ethics and non-formal ethics of values.Max Scheler - 1973 - Evanston,: Northwestern University Press.
    Introductory Remarks IN A MAJOR WORK planned for the near future I will attempt to develop a non-formal ethics of Values on the broadest possible basis of ...
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  • (1 other version)Emotion and moral judgment.Linda Zagzebski - 2003 - Philosophy and Phenomenological Research 66 (1):104–124.
    This paper argues that an emotion is a state of affectively perceiving its intentional object as falling under a "thick affective concept" A, a concept that combines cognitive and affective aspects in a way that cannot be pulled apart. For example, in a state of pity an object is seen as pitiful, where to see something as pitiful is to be in a state that is both cognitive and affective. One way of expressing an emotion is to assert that the (...)
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  • 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 (...)
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  • Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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  • The problem of non-perceptual art.James Shelley - 2003 - British Journal of Aesthetics 43 (4):363-378.
    Consider the following three propositions: (R) Artworks necessarily have aesthetic properties that are relevant to their appreciation as artworks. (S) Aesthetic properties necessarily depend, at least in part, on properties perceived by means of the five senses. (X) There exist artworks that need not be perceived by means of the five senses to be appreciated as artworks. The independent plausibility and apparent joint inconsistency of these three propositions give rise to what I refer to as ‘the problem of non-perceptual art’. (...)
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  • The authority of affect.Mark Johnston - 2001 - Philosophy and Phenomenological Research 63 (1):181-214.
    A while ago I pulled the short straw, and became chair of my department. One nice part of the job is to praise people I work with, which I can do sincerely because they are very praiseworthy. I also have to read a lot of praise by others; the familiar things—project evaluations, letters of recommendation, promotion dossiers, and so on and so forth. As a result, I have learnt to attend to praise a little more closely.
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  • Sentimentalism and the Intersubjectivity of Aesthetic Evaluations.Fabian Dorsch - 2007 - Dialectica 61 (3):417-446.
    Within the debate on the epistemology of aesthetic appreciation, it has a long tradition, and is still very common, to endorse the sentimentalist view that our aesthetic evaluations are rationally grounded on, or even constituted by, certain of our emotional responses to the objects concerned. Such a view faces, however, the serious challenge to satisfactorily deal with the seeming possibility of faultless disagreement among emotionally based and epistemically appropriate verdicts. I will argue that the sentimentalist approach to aesthetic epistemology cannot (...)
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  • Seeing What to Do: Affective Perception and Rational Motivation.Sabine A. Döring - 2007 - Dialectica 61 (3):363-394.
    Theories of practical reason must meet a psychological requirement: they must explain how normative practical reasons can be motivationally efficacious. It would be pointless to claim that we are subject to normative demands of reason, if we were in fact unable to meet those demands. Concerning this requirement to account for the possibility of rational motivation, internalist approaches are distinguished from externalist ones. I defend internalism, whilst rejecting both ways in which the belief‐desire model can be instantiated. Both the Humean (...)
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  • Gut Reactions: A Perceptual Theory of the Emotions.Jesse J. Prinz - 2004 - Oxford University Press.
    Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions of changes in the body.
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  • Explaining action by emotion.Sabine A. Döring - 2003 - Philosophical Quarterly 53 (211):214-230.
    I discuss two ways in which emotions explain actions: in the first, the explanation is expressive; in the second, the action is not only explained but also rationalized by the emotion's intentional content. The belief-desire model cannot satisfactorily account for either of these cases. My main purpose is to show that the emotions constitute an irreducible category in the explanation of action, to be understood by analogy with perception. Emotions are affective perceptions. Their affect gives them motivational force, and they (...)
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  • The transparency of experience.Michael G. F. Martin - 2002 - Mind and Language 17 (4):376-425.
    A common objection to sense-datum theories of perception is that they cannot give an adequate account of the fact that introspection indicates that our sensory experiences are directed on, or are about, the mind-independent entities in the world around us, that our sense experience is transparent to the world. In this paper I point out that the main force of this claim is to point out an explanatory challenge to sense-datum theories.
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  • How to speak of the colors.Mark Johnston - 1992 - Philosophical Studies 68 (3):221-263.
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  • (2 other versions)Perception, vision, and causation.Paul Snowdon - 1981 - Proceedings of the Aristotelian Society 81:175-92.
    Paul Snowdon; XI*—Perception, Vision and Causation, Proceedings of the Aristotelian Society, Volume 81, Issue 1, 1 June 1981, Pages 175–192, https://doi.org/10.
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  • Sense and Sensibilia.John Langshaw Austin - 1962 - Oxford University Press. Edited by G. Warnock.
    This book is the one to put into the hands of those who have been over-impressed by Austin 's critics....[Warnock's] brilliant editing puts everybody who is concerned with philosophical problems in his debt.
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  • (1 other version)Must Reasons be Either Theoretical or Practical? Aesthetic Criticism and Appreciative Reasons.Keren Gorodeisky - 2021 - Australasian Journal of Philosophy 100 (2):313-329.
    A long debate in aesthetics concerns the reasoned nature of criticism. The main questions in the debate are whether criticism is based on (normative) reasons, whether critics communicate reasons for their audience’s responses, and if so, how to understand these critical reasons. I argue that a great obstacle to making any progress in this debate is the deeply engrained assumption, shared by all sides of the debate, that reasons can only be either theoretical reasons (i.e., those that explain what to (...)
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  • (1 other version)The Rationality of Perception.Susanna Siegel - 2017 - Oxford University Press.
    There is an important division in the human mind between perception and reasoning. We reason from information that we have already, but perception is a means of taking in new information. Susanna Siegel argues that these two aspects of the mind become deeply intertwined when beliefs, fears, desires, or prejudice influence what we perceive.
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  • The Nature of Perceptual Expertise and the Rationality of Criticism.Errol Lord - 2019 - Ergo: An Open Access Journal of Philosophy 6 (29):810–838.
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  • (1 other version)Emotion and Moral Judgment.Linda Zagzebski - 2003 - Philosophy and Phenomenological Research 66 (1):104-124.
    This paper argues that an emotion is a state of affectively perceiving its intentional object as falling under a “thick affective concept” A, a concept that combines cognitive and affective aspects in a way that cannot be pulled apart. For example, in a state of pity an object is seen as pitiful, where to see something as pitiful is to be in a state that is both cognitive and affective. One way of expressing an emotion is to assert that the (...)
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  • Emotions, Value, and Agency.Christine Tappolet - 2016 - Oxford: Oxford University Press UK.
    The emotions we experience are crucial to who we are, to what we think, and to what we do. But what are emotions, exactly, and how do they relate to agency? The aim of this book is to spell out an account of emotions, which is grounded on analogies between emotions and sensory experiences, and to explore the implications of this account for our understanding of human agency. The central claim is that emotions consist in perceptual experiences of values, such (...)
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  • How to Be a Pessimist about Aesthetic Testimony.Robert Hopkins - 2011 - Journal of Philosophy 108 (3):138-157.
    Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...)
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  • (1 other version)Are Moral Requirements Hypothetical Imperatives?John McDowell & I. G. McFetridge - 1978 - Aristotelian Society Supplementary Volume 52 (1):13-42.
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