Results for 'beauty'

251 found
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  1. Buddhism, Beauty, and Virtue.David Cooper - 2017 - In Kathleen J. Higgins, Shakirsaeed Shakirsaeed & Sonia Sonia (eds.), Artistic Visions and the Promise of Beauty,. Dordrecht: Springer. pp. 123-138.
    The chapter challenges hyperbolic claims about the centrality of appreciation of beauty to Buddhism. Within the texts, attitudes are more mixed, except for a form of 'inner beauty' - the beauty found in the expression of virtues or wisdom in forms of bodily comportment. Inner beauty is a stable presence throughout Buddhist history, practices, and art.
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  2.  68
    Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  3. Sleeping Beauty and the Dynamics of de Se Beliefs.Christopher J. G. Meacham - 2008 - Philosophical Studies 138 (2):245-269.
    This paper examines three accounts of the sleeping beauty case: an account proposed by Adam Elga, an account proposed by David Lewis, and a third account defended in this paper. It provides two reasons for preferring the third account. First, this account does a good job of capturing the temporal continuity of our beliefs, while the accounts favored by Elga and Lewis do not. Second, Elga’s and Lewis’ treatments of the sleeping beauty case lead to highly counterintuitive consequences. (...)
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  4. An Argument From Divine Beauty Against Divine Simplicity.Matthew Baddorf - 2017 - Topoi 36 (4):657-664.
    Some versions of the doctrine of divine simplicity imply that God lacks really differentiated parts. I present a new argument against these views based on divine beauty. The argument proceeds as follows: God is beautiful. If God is beautiful, then this beauty arises from some structure. If God’s beauty arises from a structure, then God possesses really differentiated parts. If these premises are true, then divine simplicity is false. I argue for each of the argument’s premises and (...)
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  5.  57
    Bayesian Beauty.Silvia Milano - forthcoming - Erkenntnis:1-20.
    The Sleeping Beauty problem has attracted considerable attention in the literature as a paradigmatic example of how self-locating uncertainty creates problems for the Bayesian principles of Conditionalization and Reflection. Furthermore, it is also thought to raise serious issues for diachronic Dutch Book arguments. I show that, contrary to what is commonly accepted, it is possible to represent the Sleeping Beauty problem within a standard Bayesian framework. Once the problem is correctly represented, the ‘thirder’ solution satisfies standard rationality principles, (...)
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  6. "I Like How It Looks but It is Not Beautiful" -- Sensory Appeal Beyond Beauty.Claudia Muth, Jochen Briesen & Claus-Christian Carbon - forthcoming - Poetics.
    Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...)
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  7.  99
    Two Feelings in the Beautiful: Kant on the Structure of Judgments of Beauty.Janum Sethi - 2019 - Philosophers' Imprint 19:1-17.
    In this paper, I propose a solution to a notorious puzzle that lies at the heart of Kant’s Critique of Judgment. The puzzle arises because Kant asserts two apparently conflicting claims: (1) F→J: A judgment of beauty is aesthetic, i.e., grounded in feeling. (2) J→F: A judgment of beauty could not be based on and must ground the feeling of pleasure in the beautiful. I argue that (1) and (2) are consistent. Kant’s text indicates that he distinguishes two (...)
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  8.  98
    Précis of Being for Beauty: Aesthetic Agency and Value.Dominic McIver Lopes - forthcoming - Philosophy and Phenomenological Research.
    One question that leads us into aesthetics is: why does beauty matter? Or, what do aesthetic goods bring to my life, to make it a life that goes well? Or, how does beauty deserve the place we have evidently made for it in our lives? A theory of aesthetic value states what beauty is so as to equip us to answer this question. According to aesthetic hedonism, aesthetic values are properties of items that stand in constitutive relation (...)
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  9. Inertia, Optimism and Beauty.Patrick Hawley - 2013 - Noûs 47 (1):85-103.
    The best arguments for the 1/3 answer to the Sleeping Beauty problem all require that when Beauty awakes on Monday she should be uncertain what day it is. I argue that this claim should be rejected, thereby clearing the way to accept the 1/2 solution.
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  10. Dependent Beauty and Perfection in Kant's Aesthetics.Michael Fletcher - 2005 - Philosophical Writings (29).
    This paper attacks an account of Kant's controversial distinction between "free" and "dependent" beauty. I present three problems—The Lorland problem, The Crawford Problem, and the problem of intrinsic relation—that are shown to be a consequence of various interpretations of Kant's distinction. Next, I reconstruct Robert Wicks' well-known account of dependent beauty as "the appreciation of teleological style" and point out a key equivocation in the statement of Wicks' account: the judgment of dependent beauty can be thought to (...)
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  11. Sleeping Beauty and the Forgetful Bayesian.Bradley Monton - 2002 - Analysis 62 (1):47–53.
    Adam Elga takes the Sleeping Beauty example to provide a counter-example to Reflection, since on Sunday Beauty assigns probability 1/2 to H, and she is certain that on Monday she will assign probability 1/3. I will show that there is a natural way for Bas van Fraassen to defend Reflection in the case of Sleeping Beauty, building on van Fraassen’s treatment of forgetting. This will allow me to identify a lacuna in Elga’s argument for 1/3. I will (...)
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  12. Sleeping Beauty: Exploring a Neglected Solution.Laureano Luna - forthcoming - British Journal for the Philosophy of Science.
    The strong law of large numbers and considerations concerning additional information strongly suggest that Beauty upon awakening has probability 1⁄3 to be in a heads-awakening but should still believe the probability that the coin landed heads in the Sunday toss to be 1⁄2. The problem is that she is in a heads-awakening if and only if the coin landed heads. So, how can she rationally assign different probabilities or credences to propositions she knows imply each other? This is the (...)
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  13. Sleeping Beauty: A Note on Dorr's Argument for 1/3.Darren Bradley - 2003 - Analysis 63 (3):266–268.
    Cian Dorr (2002) gives an argument for the 1/3 position in Sleeping Beauty. I argue this is based on a mistake about Sleeping Beauty's epistemic position.
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  14. Towards a Unified Theory of Beauty.Jennifer A. McMahon - 1999 - Literature & Aesthetics 9:7-27.
    The Pythagorean tradition dominates the understanding of beauty up until the end of the 18th Century. According to this tradition, the experience of beauty is stimulated by certain relations perceived to be between an object/construct's elements. As such, the object of the experience of beauty is indeterminate: it has neither a determinate perceptual analogue (one cannot simply identify beauty as you can a straight line or a particular shape) nor a determinate concept (there are no necessary (...)
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  15. The Objectivity of Truth, Morality, and Beauty.Steven James Bartlett - 2017 - Willamette University Faculty Research Website.
    Whether truth, morality, and beauty have an objective basis has been a perennial question for philosophy, ethics, and aesthetics, while for a great many relativists and skeptics it poses a problem without a solution. In this essay, the author proposes an innovative approach that shows how cognitive intelligence, moral intelligence, and aesthetic intelligence provide the basis needed for objective judgments about truth, morality, and beauty.
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  16. The Perfect Bikini Body: Can We All Really Have It? Loving Gaze as an Antioppressive Beauty Ideal.Sara Protasi - 2017 - Thought: A Journal of Philosophy 6 (2):93-101.
    In this paper, I ask whether there is a defensible philosophical view according to which everybody is beautiful. I review two purely aesthetical versions of this claim. The No Standards View claims that everybody is maximally and equally beautiful. The Multiple Standards View encourages us to widen our standards of beauty. I argue that both approaches are problematic. The former fails to be aspirational and empowering, while the latter fails to be sufficiently inclusive. I conclude by presenting a hybrid (...)
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  17.  74
    The Birth and Death of Beauty in Western Art.Derek Allan - manuscript
    Examines (1) the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself; (2) the death of art-of-beauty from Manet onwards. Also looks briefly at some major implications for aesthetics (the philosophy of art). Paper includes some relevant reproductions.
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  18.  61
    Kantian Beauty, Fractals, and Universal Community.C. E. Emmer - 2019 - Dialogue and Universalism 29 (2):65-80.
    Benoit B. Mandelbrot, when discussing the global appeal of fractal patterns and designs, draws upon examples from across numerous world cultures. What may be missed in Mandelbrot's presentation is Immanuel Kant’s precedence in recognizing this sort of widespread beauty in art and nature, fractals avant la lettre. More importantly, the idea of the fractal may itself assist the aesthetic attitude which Kantian beauty requires. In addition, from a Kantian perspective, fractal patterns may offer a source for a sense (...)
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  19. On the Interest in Beauty and Disinterest.Nick Riggle - 2016 - Philosophers' Imprint 16:1-14.
    Contemporary philosophical attitudes toward beauty are hard to reconcile with its importance in the history of philosophy. Philosophers used to allow it a starring role in their theories of autonomy, morality, or the good life. But today, if beauty is discussed at all, it is often explicitly denied any such importance. This is due, in part, to the thought that beauty is the object of “disinterested pleasure”. In this paper I clarify the notion of disinterest and develop (...)
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  20. Beauty.Jennifer A. McMahon - 2019 - Oxford Bibliographies Online: Philosophy.
    This is an 18,500 word bibliography of philosophical scholarship on Beauty which was published online in the Oxford Bibliographies Online. The entry includes an Introduction of 800 words, 21 x 400-word sub-themes and 168 annotated references. INTRODUCTION Philosophical interest in beauty began with the earliest recorded philosophers. Beauty was deemed to be an essential ingredient in a good life and so what it was, where it was to be found and how it was to be included in (...)
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  21. Perceptual Principles as the Basis for Genuine Judgments of Beauty.Jennifer A. McMahon - 2000 - Journal of Consciousness Studies 7 (8-9):8-9.
    This paper comments on an article by V.S. Ramachandran and William Hirstein (JCS,1999) in which they purport to be identifying the neurological principles of beauty. I draw attention to the way the problem of beauty is construed in the philosophical literature by Mary Mothersill (1984) and Immanuel Kant (Critique of Judgment). I argue that Ramachandran and Hirsteins' principles do not address the problem of beauty because they do not differentiate between the experience of beauty and other (...)
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  22. The Neglected Harms of Beauty: Beyond Engaging Individuals.Heather Widdows - 2017 - Journal of Practical Ethics 5 (2):1-29.
    This paper explores the neglected ‘harms-to-others’ which result from increased attention to beauty, increased engagement in beauty practices and rising minimal beauty standards. In the first half of the paper I consider the dominant discourse of beauty harms – that of ethics and policy – and argue that this discourse has over-focused on the agency of, and possible harms to, recipients of beauty practices. I introduce the feminist discourse which recognises a general harm to all (...)
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  23. Symposium: Beauty Matters.Peg Zeglin Brand - 1999 - Journal of Aesthetics and Art Criticism 57 (1):1-10.
    The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some (...)
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  24. The Beauty in Art and the Notion of Proportion.Saida Seddik - manuscript
    Greek philosophical tradition, not only the Aristotelian one, is strongly associated with proportion (Eco, 1993: 90). This principle of symmetry is generalisable; forasmuch as it is used as a normative rule in figurative arts. Nonetheless, the proportion for Ancient Greeks does not only describe a mathematical relation, but also represents a metaphysical principle. Thus, beauty is the measurement of the elements of the external form (in the case of tragedy, the meter, the symmetry of the parts, the number of (...)
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  25.  4
    Sleeping Beauty's Evidence.Jeffrey Sanford Russell - forthcoming - In Maria Lasonen-Aarnio & Clayton M. Littlejohn (eds.), The Routledge Handbook of the Philosophy of Evidence. Routledge.
    What degrees of belief does Sleeping Beauty's evidence support? That depends.
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  26. Review of The Metaphysics of Beauty[REVIEW]Jennifer A. McMahon - 2002 - Journal of Aesthetics and Art Criticism 60 (4):358-60.
    This book is a compilation of papers that Zangwill has had published previously in a number of journals; this journal among them. The topics of these papers centre on the nature of aesthetic properties. Read as such, the papers are, for the most part, erudite and illuminating, presenting as they do a very clear synthesis of various well known positions on the relation of aesthetic properties to non-aesthetic properties; the relation of beauty to other aesthetic concepts; and the nature (...)
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  27. Plato's "Side Suns" : Beauty, Symmetry and Truth. Comments Concerning Semantic Monism and Pluralism of the "Good" in the "Philebus".Rafael Ferber - 2010 - Elenchos: Rivista di Studi Sul Pensiero Antico 31 (1):51-76.
    Under semantic monism I understand the thesis “The Good is said in one way” and under semantic pluralism the antithesis “The Good is said in many ways”. Plato’s Socrates seems to defend a “semantic monism”. As only one sun exists, so the “Good” has for Socrates and Plato only one reference. Nevertheless, Socrates defends in the Philebus a semantic pluralism, more exactly trialism, of “beauty, symmetry and truth” . Therefore, metaphorically speaking, there seem to exist not only one sun, (...)
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  28.  79
    Beauty, Art and the Western Tradition.Derek Allan - manuscript
    From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature (...)
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  29. The Flower and the Breaking Wheel: Burkean Beauty and Political Kitsch.C. E. Emmer - 2007 - International Journal of the Arts in Society 2 (1):153-164.
    What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic (...)
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  30. Comprehensibility Rather Than Beauty.Nicholas Maxwell - 2001 - PhilSci Archive.
    Most scientists and philosophers of science recognize that, when it comes to accepting and rejecting theories in science, considerations that have to do with simplicity, unity, symmetry, elegance, beauty or explanatory power have an important role to play, in addition to empirical considerations. Until recently, however, no one has been able to give a satisfactory account of what simplicity (etc.) is, or how giving preference to simple theories is to be justified. But in the last few years, two different (...)
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  31. Beauty.Jennifer A. McMahon - 2007 - In Berys Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge. pp. 307-319.
    Beauty is evil, a surreptitious diversion of earthly delights planted by the devil, according to the third century theologian-philosopher Tertullian. Beauty is a manifestation of the divine on earth, according to another third century philosopher, Plotinus. Could these two really be talking about the same thing? That beauty evokes an experience of pleasure is probably the only point on which all participants in the continuing debate on beauty agree. But what kinds of pleasure one considers relevant (...)
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  32. Review of The Significance of Beauty: Kant on Feeling and the System of the Mind. [REVIEW]Jennifer A. McMahon - 1999 - Philosophy in Review 19 (2):122-124.
    Matthews discusses the role of our ability to make a judgment of taste (judgment of beauty) within Kant's notion of the structure of the mind. In doing this she does not simply rely upon what we can learn from the first part of the third critique, the 'Critique of Aesthetic Judgment', but draws upon Kant's philosophy as a whole, including the first two critiques and the second part of The Critique of Judgment, the 'Critique of Teleological Judgment'. She looks (...)
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  33.  50
    Beauty Before the Eyes of Others.Jonathan Fine - 2016 - In Proceedings of the European Society for Aesthetics. Fribourg: The European Society for Aesthetics. pp. 164-176.
    This paper pursues the philosophical significance of a relatively unexplored point of Platonic aesthetics: the social dimension of beauty. The social dimension of beauty resides in its conceptual connection to shame and honour. This dimension of beauty is fundamental to the aesthetic education of the Republic, as becoming virtuous for Plato presupposes a desire to appear and to be admired as beautiful. The ethical significance of beauty, shame, and honour redound to an ethically rich notion of (...)
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  34. The Significance of Plato's Notions of Beauty and Pleasure in the Philosophy of Kant.Jennifer A. McMahon - 2007 - Greek Research in Australia: Proceedings of the Biennial Conference of Greek Studies 2005 6:27-34.
    Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a means to the Good. The ascent theory of the Symposium has suggested to some commentators that Plato envisaged two kinds of beauty, the sensuous and the intellectual, and that to reach the Good we must transcend our sensuous desires and cultivate an appreciation of intellectual beauty. However, in the Laws Plato presents us with a third notion of (...)
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  35. Beauty Unlimited.Peg Zeglin Brand (ed.) - 2013 - Bloomington, IN: Indiana University Press.
    Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within (...)
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  36.  80
    Beauty and Love.Nick Riggle - 2014 - In Michael Kelly (ed.), Oxford Encyclopedia of Aesthetics. Oxford University Press.
    A brief history, overview, and assessment of the thesis that beauty is the object of love.
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  37. Ross on Sleeping Beauty.Brian Weatherson - 2013 - Philosophical Studies 163 (2):503-512.
    In two excellent recent papers, Jacob Ross has argued that the standard arguments for the ‘thirder’ answer to the Sleeping Beauty puzzle lead to violations of countable additivity. The problem is that most arguments for that answer generalise in awkward ways when he looks at the whole class of what he calls Sleeping Beauty problems. In this note I develop a new argument for the thirder answer that doesn't generalise in this way.
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  38. Beauty Matters.Peg Zeglin Brand - 2000 - Indiana University Press.
    Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled (...)
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  39.  53
    Review of Beauty Unlimited, Peg Zeglin Brand, Ed. [REVIEW]Stefanie Rocknak - 2015 - Apa Newsletter on Feminism and Philosophy 15 (1):14-16.
    Most artists who are familiar with the contemporary art scene—especially the New York City scene—know that “beauty” is not especially hip. Unless, that is, it serves a “deeper” purpose, e.g., it helps to make a conceptual or political point. Danto’s influence, it would seem, pervades and persists (31). But, as Brand points out in her introduction, in the past twenty years or so, the philosophical study of beauty has been making a comeback; she lists over fifty titles that (...)
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  40.  51
    Hutcheson's Idea of Beauty and the Doomsday Scenario.Rafe McGregor - 2010 - Postgraduate Journal of Aesthetics 7 (1):13-23.
    Francis Hutcheson is generally accepted as producing the first systematic study of aesthetics, in the first treatise of An Inquiry into the Original of Our Ideas of Beauty and Virtue, initially published in 1725. His theory reflected the eighteenth century concern with beauty rather than art, and has drawn accusations of vagueness since the first critical response, by Charles Louis DeVillete in 1750. The most serious critique concerns the idea of beauty itself: whether it was simple or (...)
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  41.  39
    Beauty. New Essays in Aesthetics and the Philosophy of Art.Wolfgang Huemer & Íngrid Vendrell Ferran (eds.) - 2019 - München, Deutschland: Philosophia.
    The notion of beauty has been and continues to be one of the main concerns of aesthetics and art theory. Traditionally, the centrality of beauty in the experience of art was widely accepted and beauty was considered one of the key values in aesthetics. In recent debate, however, the significance of the notion of beauty has been discussed controversially. Especially in the second half of the twentieth century, the role of beauty was strongly challenged both (...)
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  42. ORLAN Revisited: Disembodied Virtual Hybrid Beauty.Peg Zeglin Brand Weiser - 2013 - In Peg Zeglin Brand Weiser (ed.), Beauty Unlimited. Bloomington, IN: Indiana University Press. pp. 306-340.
    I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake (...), causally disembodied, based on the effects she intends to create from an imaginative use of combined hybrid imagery. Subverting the familiar philosophical notions of aesthetic distance and aesthetic appreciation, hers is not a monstrous beauty (as some feminist art theorists contend) but rather a fake beauty that still has aesthetic features worth assessing. I suggest the possibility of generational differences in understandings of the term 'feminist', i.e., shifts in meaning from early feminist theory of the 1970s to ever-evolving, twenty-first century notions of the term, all of which add to the confusion. As I negotiate this terrain, I hope to steer both critics and viewers more directly to the words of the artist herself, "I have tried to make my Self-Hybridations as 'human' as possible, like mutant beings, but I still did not think that the confusion could be possible.". (shrink)
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  43. The Ages of Beauty: Revisiting Hartshorne's Diagram of Aesthetic Values.Lars Spuybroek - 2012 - In A. Mulder (ed.), Vital Beauty: Reclaiming Aesthetics in the Tangle of Technology and Nature. pp. 32-63.
    This long essay was published in Vital Beauty, a collection including Wendy Steiner and Tim Ingold, which investigates the possibility of new ways toward beauty. This is my first encounter with Hartshorne’s Diagram of Aesthetic Values, a mandala-like structure explaining the relations between aesthetic experiences. The essay looks into the awkward history of the diagram in Hartshorne’s philosophy, its connection to Max Dessoir’s work, to Whitehead’s chapter on beauty in Adventures of Ideas and the notion of creativity (...)
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  44. Bound to Beauty: An Interview with Orlan.Peg Zeglin Brand Weiser - 2000 - In Peg Zeglin Brand Weiser (ed.), Beauty Matters. Bloomington, IN: Indiana University Press. pp. 289-313.
    Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with (...)
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  45. Emancipated Beauty.Peg Zeglin Brand Weiser - 2009 - In Marc Nouschi and Elisabeth Azoulay (ed.), 100,000 Years of Beauty: Modernity/Globalisations (Volume 4 of 5). Paris, France: Gallimard. pp. 140-142.
    This short essay is part of a 5 volume work entitled 100,000 Years of Beauty complete with more than 300 authors from over 30 countries. I was aksed to write about Simone de Beauvoir and the concept of 'emancipated beauty'; I cast Beauvoir's theory of freedom--combining liberation and equality with beauty and femininity--in defiance of the long-standing and constrictive dichotomy that says women must choose one or the other. Beauvoir's most famous phrase, "One is not born, but (...)
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  46. Contemporary Representations of the Female Body: Consumerism and the Normative Discourse of Beauty.Venera Dimulescu - 2015 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 2 (4): 505–514.
    In the context of the perpetual reproduction of consumerism in contemporary western societies, the varied and often contradictory principles of third wave feminism have been misunderstood or redefined by the dominant economic discourse of the markets. The lack of homogeneity in the theoretical debates of the third wave feminism seems to be a vulnerable point in the appropriation of its emancipatory ideals by the post-modern consumerist narratives. The beauty norm, particularly, brings the most problematic questions forth in the contemporary (...)
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  47. Aesthetic Representation of Purposiveness and the Concept of Beauty in Kant’s Aesthetics. The Solution of the ‘Everything is Beautiful’ Problem.Mojca Küplen - 2016 - Philosophical Inquiries 4 (2):69-88.
    In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been criticized by several commentators for (...)
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  48.  61
    Immortal Beauty: Does Existence Confirm Infinite Reincarnation?Jens Jaeger - manuscript
    In “Existence Is Evidence of Immortality”, Michael Huemer argues that our existence at a time gives us evidence that we are infinitely reincarnated. I argue that his argument is flawed, since it fails to account for the total evidence we gain from observing our existence at the current time. In particular, it neglects essentially de se, or self-locational, evidence. I then present a new, limited, argument for immortality. The argument takes its cue from the well-known Sleeping Beauty puzzle. It (...)
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  49. The Beauty of the Game.Peg Zeglin Brand Weiser & Myles Brand - 2007 - In Jerry Walls (ed.), Basketball and Philosophy. Lexington: The University Press of Kentucky. pp. 94-103.
    Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!
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  50. Beauty (English Version).John Zeimbekis - forthcoming - In J. Deonna E. Tieffenbach (ed.), Petit dictionnaire des valeurs. Editions de l'Ithaque.
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