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  1. 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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  • The Game of Belief.Barry Maguire & Jack Woods - 2020 - Philosophical Review 129 (2):211-249.
    It is plausible that there are epistemic reasons bearing on a distinctively epistemic standard of correctness for belief. It is also plausible that there are a range of practical reasons bearing on what to believe. These theses are often thought to be in tension with each other. Most significantly for our purposes, it is obscure how epistemic reasons and practical reasons might interact in the explanation of what one ought to believe. We draw an analogy with a similar distinction between (...)
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  • Philosophy and the novel.Alan H. Goldman - 2013 - Oxford: Oxford University Press.
    Part I. Philosophy of novels. 1. Introduction: philosophical content and literary value -- 2. Interpreting novels -- 3. The sun also rises: incompatible interpretations -- 4. The appeal of the mystery -- Part II. Philosophy in novels. 5. Moral development in Pride and prejudice -- 6. Huckleberry Finn and moral motivation -- 7. What we learn about rules from The cider house rules -- 8. Nostromo and the fragility of the self.
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  • Enticing reasons.Jonathan Dancy - 2005 - In Christian Nimtz & Ansgar Beckermann (eds.), Philosophy-Science -Scientific Philosophy, Main Lectures and Colloquia of GAP 5, Fifth International Congress of the Society for Analytical Philosophy. Mentis. pp. 10-32.
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  • Enticing Reasons.Jonathan Dancy - 2004 - In R. Jay Wallace (ed.), Reason and value: themes from the moral philosophy of Joseph Raz. New York: Oxford University Press. pp. 91-118.
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  • Authors' intentions, literary interpretation, and literary value.Stephen Davies - 2006 - British Journal of Aesthetics 46 (3):223-247.
    I discuss three theories regarding the interpretation of fictional literature: actual intentionalism (author's intentions constrain how their works are to be interpreted), hypothetical intentionalism (interpretations are justified as those most likely intended by a postulated author), and the value-maximizing theory (interpretations presenting the work in the most favourable light are to be preferred). I claim that actual intentionalism cannot account for the appropriateness or legitimacy of some interpretations, or alternatively that it must be weakened to the point that the considerations (...)
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  • The Artworld.Arthur Danto - 1964 - Journal of Philosophy 61 (19):571-584.
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  • On Criticism.Noël Carroll - 2008 - Routledge.
    Drawing on his knowledge of the worlds of art, criticism, and philosophy, Noèel Carroll argues that appraisal and evaluation of art are an indispensable part of the conversation of life.
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  • On Criticism.Noël Carroll - 2009 - Journal of Aesthetics and Art Criticism 67 (4):421-423.
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  • In Defense of Aesthetic Value.Monroe C. Beardsley - 1979 - Proceedings and Addresses of the American Philosophical Association 52 (6):723 - 749.
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  • Critique of the power of judgment.Immanuel Kant - 2000 - New York: Cambridge University Press. Edited by Paul Guyer.
    The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...)
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  • Diotima's children: German aesthetic rationalism from Leibniz to Lessing.Frederick C. Beiser - 2009 - New York: Oxford University Press.
    Diotima's Children is a re-examination of the rationalist tradition of aesthetics which prevailed in Germany in the late seventeenth and eighteenth century.
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  • Rationality Through Reasoning.John Broome (ed.) - 2013 - Malden, MA: Wiley-Blackwell.
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  • The Moral Nexus.R. Jay Wallace - 2019 - Princeton: Princeton University Press.
    The Moral Nexus develops and defends a new interpretation of morality—namely, as a set of requirements that connect agents normatively to other persons in a nexus of moral relations. According to this relational interpretation, moral demands are directed to other individuals, who have claims that the agent comply with these demands. Interpersonal morality, so conceived, is the domain of what we owe to each other, insofar as we are each persons with equal moral standing. The book offers an interpretative argument (...)
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  • On the aesthetic education of man: in a series of letters.Friedrich Schiller - 1954 - New York: Oxford University Press. Edited by Elizabeth M. Wilkinson & L. A. Willoughby.
    Schiller's 1795 essay on the educative function of art is one of the most important contributions to the history of ideas in modern times. This English-German parallel text edition includes a long analytical introduction and extensive notes.
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  • Intersections of Value: Art, Nature, and the Everyday.Robert Stecker - 2019 - Oxford: Oxford University Press.
    Robert Stecker investigates the universal human need for aesthetic experience of the world around us. He examines three contexts where aesthetic value plays a central role: art, nature, and the everyday. He explores how the aesthetic interacts with moral, cognitive, and functional values, and considers the place of the aesthetic in a good life.
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  • Being for Beauty: Aesthetic Agency and Value.Dominic Lopes - 2018 - Oxford, United Kingdom: Oxford University Press.
    For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.
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  • Aspiration: The Agency of Becoming.Agnes Callard - 2018 - New York: Oup Usa.
    Aspiration by Agnes Callard locates standing assumptions in the theory of rationality, moral psychology and autonomy that preclude the possibility of working to acquire new values. The book also explains what changes need to be made if we are to make room for this form of agency, which I call aspiration.
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  • Languages of Art: An Approach to a Theory of Symbols.Nelson Goodman - 1971 - British Journal for the Philosophy of Science 22 (2):187-198.
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  • Languages of Art: An Approach to a Theory of Symbols.Nelson Goodman - 1968 - Indianapolis,: Bobbs-Merrill.
    . . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.
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  • The Authority of Formality.Jack Woods - 2018 - Oxford Studies in Metaethics 13.
    Etiquette and other merely formal normative standards like legality, honor, and rules of games are taken less seriously than they should be. While these standards are not intrinsically reason-providing in the way morality is often taken to be, they also play an important role in our practical lives: we collectively treat them as important for assessing the behavior of ourselves and others and as licensing particular forms of sanction for violations. This chapter develops a novel account of the normativity of (...)
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  • Aesthetic Reasons and the Demands They (Do Not) Make.Daniel Whiting - 2021 - Philosophical Quarterly 71 (2):407-427.
    What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of this is that there are (...)
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  • Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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  • Aesthetic Hedonism and Its Critics.Servaas Van der Berg - 2020 - Philosophy Compass 15 (1):e12645.
    This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...)
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  • Reasons: Wrong, Right, Normative, Fundamental.Kurt Sylvan & Errol Lord - 2019 - Journal of Ethics and Social Philosophy 15 (1).
    Reasons fundamentalists maintain that we can analyze all derivative normative properties in terms of normative reasons. These theorists famously encounter the Wrong Kind of Reasons problem, since not all reasons for reactions seem relevant for reasons-based analyses. Some have argued that this problem is a general one for many theorists, and claim that this lightens the burden for reasons fundamentalists. We argue in this paper that the reverse is true: the generality of the problem makes life harder for reasons fundamentalists. (...)
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  • Review of Jerome Stolnitz: Aesthetics and Philosophy of Art Criticism[REVIEW]Manuel Bilsky - 1961 - Ethics 71 (2):143-144.
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  • Aesthetic Concepts.Frank Sibley - 1959 - Philosophical Review 68 (4):421-450.
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  • Hume and the Value of the Beautiful.J. Shelley - 2011 - British Journal of Aesthetics 51 (2):213-222.
    Hume is plausibly interpreted as asserting that an artwork is beautiful if and only if it pleases ideal critics. Jerrold Levinson maintains that Hume's commitment to this biconditional gives rise to a problem that occurs neither to Hume nor to his any of his interpreters—the problem of explaining why you should care what pleases ideal critics if you are not one yourself. I argue that this problem arises only if you hold an empiricist theory of aesthetic value—that is, a theory (...)
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  • Against Value Empiricism in Aesthetics.James Shelley - 2010 - Australasian Journal of Philosophy 88 (4):707-720.
    Value empiricists in aesthetics claim that we can explain the value of artworks by appeal to the value of the experiences they afford. I raise the question of the value of those experiences. I argue that while there are many values that such experiences might have, none is adequate to explaining the value of the works that afford the experiences. I then turn to defending the alternative to value empiricism, which I dub the object theory . I argue that if (...)
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  • The empiricist theory of artistic value.R. A. Sharpe - 2000 - Journal of Aesthetics and Art Criticism 58 (4):321-332.
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  • Why Play the Notes? Indirect Aesthetic Normativity in Performance.Guy Rohrbaugh - 2020 - Australasian Journal of Philosophy 98 (1):78-91.
    While all agree that score compliance in performance is valuable, the source of this value is unclear. Questions about what authenticity requires crowd out questions about our reasons to be compliant in the first place, perhaps because they seem trivial or uninteresting. I argue that such reasons cannot be understood as ordinary aesthetic, instrumental, epistemic, or moral reasons. Instead, we treat considerations of score compliance as having a kind of final value, one which requires further explanation. Taking as a model (...)
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  • Levinson on the Aesthetic Ideal.Nicholas Riggle - 2013 - Journal of Aesthetics and Art Criticism 71 (3):277-281.
    In “Artistic Worth and Personal Taste,” Jerrold Levinson develops a problem for those who think we should strive to be “ideal critics” in our aesthetic lives. He then offers several solutions to this problem. I argue that his solutions miss the mark and that the problem he characterizes may not be genuine after all.
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  • Practical reason and norms.Joseph Raz - 1975 - London: Hutchinson.
    Practical Reason and Norms focuses on three problems: In what way are rules normative, and how do they differ from ordinary reasons? What makes normative systems systematic? What distinguishes legal systems, and in what consists their normativity? All three questions are answered by taking reasons as the basic normative concept, and showing the distinctive role reasons have in every case, thus paving the way to a unified account of normativity. Rules are a structure of reasons to perform the required act (...)
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  • Two concepts of rules.John Rawls - 1955 - Philosophical Review 64 (1):3-32.
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  • Of Reasons and Recognition.Sarah K. Paul & Jennifer M. Morton - 2014 - Analysis 74 (2):339-348.
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  • What Is Conventionalism about Moral Rights and Duties?Katharina Nieswandt - 2019 - Australasian Journal of Philosophy 97 (1):15-28.
    A powerful objection against moral conventionalism says that it gives the wrong reasons for individual rights and duties. The reason why I must not break my promise to you, for example, should lie in the damage to you—rather than to the practice of promising or to all other participants in that practice. Common targets of this objection include the theories of Hobbes, Gauthier, Hooker, Binmore, and Rawls. I argue that the conventionalism of these theories is superficial; genuinely conventionalist theories are (...)
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  • Beauty restored.Mary Mothersill - 1984 - Oxford: Clarendon Press.
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  • Values of Art and the Ethical Question.Hallvard Lillehammer - 2008 - British Journal of Aesthetics 48 (4):376-394.
    Does the ethical value of a work of art ever contribute to its aesthetic value? I argue that when conventionally interpreted as a request for a conceptual analysis the answer to this question is indeterminate. I then propose a different interpretation of the question on which it is understood as a substantial and normative question internal to the practice of aesthetic criticism.
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  • Hume's standard of taste: The real problem.Jerrold Levinson - 2002 - Journal of Aesthetics and Art Criticism 60 (3):227–238.
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  • Literary Intentionalism.Robbie Kubala - 2019 - Metaphilosophy 50 (4):503-515.
    In the philosophical debate about literary interpretation, the actual intentionalist claims, and the anti-intentionalist denies, that an acceptable interpretation of fictional literature must be constrained by the author’s intentions. I argue that a close examination of the two most influential recent strands in this debate reveals a surprising convergence. Insofar as both sides (a) focus on literary works as they are, where work identity is determined in part by certain (successfully realized) categorial intentions concerning, e.g., title, genre, and large-scale instances (...)
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  • Grounding Aesthetic Obligations.Robbie Kubala - 2018 - British Journal of Aesthetics 58 (3):271-285.
    Many writers describe a sense of requirement in aesthetic experience: some aesthetic objects seem to demand our attention. In this paper, I consider whether this experienced demand could ever constitute a genuine normative requirement, which I call an aesthetic obligation. I explicate the content, form, and satisfaction conditions of these aesthetic obligations, then argue that they would have to be grounded neither in the special weight of some aesthetic considerations, nor in a normative relation we bear to aesthetic objects as (...)
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  • Dominic McIver Lopes, Being for Beauty: Aesthetic Agency and Value[REVIEW]Robbie Kubala - 2019 - Estetika: The European Journal of Aesthetics 56 (2):250-262.
    A review of Dominic McIver Lopes’s Being for Beauty: Aesthetic Agency and Value.
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  • Being for Beauty: Aesthetic Agency and Value. [REVIEW]Alex King - 2020 - British Journal of Aesthetics 60 (1):99-102.
    Book Review of Being for Beauty: Aesthetic Agency and Value, by Dominic McIver Lopes. This review summarizes the book's main thread of argument and Lopes' positive view, which he dubs the "network theory". It ends by reflecting on whether Lopes' account of aesthetic normativity is ultimately satisfactory.
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  • Why ideal critics are not ideal: Aesthetic character, motivation and value.Matthew Kieran - 2008 - British Journal of Aesthetics 48 (3):278-294.
    On a contemporary Humean-influenced view, the responses of suitably idealized appreciators are presented as tracking, or even determining, facts about artistic value. Focusing on the intra-personal case, this paper argues that (i) facts about the refinement and reconfiguration of aesthetic character together with (ii) the manner in which autobiography and character are implicated in artistic appreciation make it de facto unlikely that we can reliably come to know how our ideal counterpart would respond to a given artwork. Attribution of superhuman (...)
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  • Why Ideal Critics are Not Ideal: Aesthetic Character, Motivation and Value: Articles.Matthew Kieran - 2008 - British Journal of Aesthetics 48 (3):278-294.
    On a contemporary Humean-influenced view, the responses of suitably idealized appreciators are presented as tracking, or even determining, facts about artistic value. Focusing on the intra-personal case, this paper argues that facts about the refinement and reconfiguration of aesthetic character together with the manner in which autobiography and character are implicated in artistic appreciation make it de facto unlikely that we can reliably come to know how our ideal counterpart would respond to a given artwork. Attribution of superhuman abilities to (...)
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  • Authors, Intentions and Literary Meaning.Sherri Irvin - 2006 - Philosophy Compass 1 (2):114–128.
    This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.
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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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  • 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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  • The experiential account of aesthetic value.Alan H. Goldman - 2006 - Journal of Aesthetics and Art Criticism 64 (3):333–342.
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  • Critique of the Power of Judgment.Hannah Ginsborg, Immanuel Kant, Paul Guyer & Eric Matthews - 2002 - Philosophical Review 111 (3):429.
    This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...)
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