Results for 'Aesthetics, Harold'

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  1.  92
    Deconstruction and Criticism.Harold Bloom, Paul de Man, Jacques Derrida, Geoffrey Hartman & J. Hillis Miller - 1979 - Journal of Aesthetics and Art Criticism 39 (2):219-221.
  2.  5
    Aesthetic Analysis.Harold Chapman Brown - 1937 - International Journal of Ethics 47 (2):255-256.
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  3.  24
    Music cognition and aesthetic attitudes.Harold E. Fiske - 1993 - Lewiston, N.Y.: E. Mellen Press.
    This study develops a theory about the interaction between music cognition and affective response. The theory demonstrates how musical thinking, knowledge, and decision-making result in qualitative musical behaviour. It reports new findings about the cognitive representation of musical structures, imagery as an auditory-phenomenological descriptor of music, aesthetic response as an outcome of specific cognitive decisions, and the value of music in cross-cultural human development. Each of the seven essays identifies a problem in music psychology that is relevant to an explanation (...)
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  4. Defending Aesthetic Internalism: Liking, Loving, and Wholeheartedness.James Harold - forthcoming - Philosophical Quarterly.
    Aesthetic internalism claims a link between judgement and motivation: aesthetic judgements bring with them motivations to act in characteristic ways. Critics object that there is a difference between merely liking something and judging it to be aesthetically good, and that it is our likings, not our aesthetic judgements, that motivate us. This paper develops a version of aesthetic internalism that can respond to this criticism. Wholehearted aesthetic judgements are characterized by stability, attention, and motivation. Making such judgements is an important (...)
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  5.  46
    Dangerous Art: On Moral Criticism of Artworks.James Harold - 2020 - New York, USA: Oup Usa.
    What grounds a judgment that a work of art is immoral? This book argues that we cannot judge artworks morally in the same way that we judge people. What>'s more, there is no direct influence from moral judgments to aesthetic judgments: it is possible for artworks to be both immoral and beautiful.
  6.  17
    Readings in the aesthetics of sport.Harold Thomas Anthony Whiting & D. W. Masterson (eds.) - 1974 - London: Lepus Books : [Distributed by] Kimpton.
  7. Autonomism Reconsidered.James Harold - 2011 - British Journal of Aesthetics 51 (2):137-147.
    This paper has three aims: to define autonomism clearly and charitably, to offer a positive argument in its favour, and to defend a larger view about what is at stake in the debate between autonomism and its critics. Autonomism is here understood as the claim that a valuer does not make an error in failing to bring her moral and aesthetic judgements together, unless she herself values doing so. The paper goes on to argue that reason does not require the (...)
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  8.  19
    Lectures & Conversations on Aesthetics, Psychology and Religious Belief.Harold Morick - 1968 - International Philosophical Quarterly 8 (4):651-653.
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  9.  28
    Aesthetics and Theory of Art.Harold Osborne - 1971 - Journal of Aesthetics and Art Criticism 30 (2):262-264.
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  10.  17
    Aesthetic choice as a personality function.Harold G. Mccurdy - 1954 - Journal of Aesthetics and Art Criticism 12 (3):373-377.
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  11.  44
    Aesthetics east and west.Harold E. McCarthy - 1953 - Philosophy East and West 3 (1):47-68.
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  12. Notes on the aesthetics of chess and the concept of intellectual beauty.Harold Osborne - 1964 - British Journal of Aesthetics 4 (2):160-163.
  13.  7
    Enlightenment Phantasies: Cultural Identity in France and Germany, 1750-1914.Harold Mah - 2003 - Ithaca: Cornell University Press.
    Introduction: identity as phantasy in Enlightenment in France and Germany -- The man with too many qualities : the young herder between France and Germany -- The language of cultural identity : Diderot to Nietzsche -- Strange classicism : aesthetic vision in Winckelmann, Nietzsche, and Thomas Mann -- Classicism and gender transformation : David, Goethe, and Stal -- The French Revolution and the problem of time : Hegel to Marx.
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  14.  67
    Some studies of aesthetic preference.Harold J. McWhinnie - 1987 - British Journal of Aesthetics 27 (1):76-86.
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  15. On being moved by fiction.Harold Skulsky - 1980 - Journal of Aesthetics and Art Criticism 39 (1):5-14.
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  16.  30
    On Donald Keene's "japanese aesthetics".Harold E. McCarthy - 1969 - Philosophy East and West 19 (3):310-316.
  17. Immoralism and the Valence Constraint.James Harold - 2008 - British Journal of Aesthetics 48 (1):45-64.
    Immoralists hold that in at least some cases, moral fl aws in artworks can increase their aesthetic value. They deny what I call the valence constraint: the view that any effect that an artwork’s moral value has on its aesthetic merit must have the same valence. The immoralist offers three arguments against the valence constraint. In this paper I argue that these arguments fail, and that this failure reveals something deep and interesting about the relationship between cognitive and moral value. (...)
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  18. The Value of Fidelity in Adaptation.James Harold - 2018 - British Journal of Aesthetics 58 (1):89-100.
    © British Society of Aesthetics 2018. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] adaptation of literary works into films has been almost completely neglected as a philosophical topic. I discuss two questions about this phenomenon:What do we mean when we say that a film is faithful to its source?Is being faithful to its source a merit in a film adaptation?In response to, I set out two distinct (...)
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  19.  8
    The Meaning of Shakespeare.Harold C. Goddard - 1952 - Journal of Aesthetics and Art Criticism 10 (3):285-285.
  20.  52
    Metaphysical Feelings in Modern Art.Harold Rosenberg - 1975 - Critical Inquiry 2 (2):217-232.
    The aesthetic is present everywhere—in the street, in department stores, movie houses, mountainsides, as in the art gallery, the cathedral, the sacred grove. By universalizing the concept of the aesthetic, modern art has destroyed the barrier that once marked off Beauty and the Sublime as separate realms of being. In the eyes of modern art and modernist aesthetics, anything can legitimately appeal to taste. President Eisenhower, complaining about modern art, said that he had been brought up to believe that art (...)
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  21.  61
    Aesthetic and other forms of order.Harold Osborne - 1982 - British Journal of Aesthetics 22 (1):3-16.
  22.  48
    Aesthetic relevance.Harold Osborne - 1977 - British Journal of Aesthetics 17 (4):291-304.
  23.  55
    On Resisting Art.James Harold - 2023 - Journal of Aesthetics and Art Criticism 81 (1):35-45.
    What responsibilities do audiences have in engaging with artworks? Certain audience responses seem quite clear: for example, audiences should not vandalize or destroy artworks; they should not disrupt performances. This paper examines other kinds of resisting responses that audiences sometimes engage in, including petitioning the artist to change their works, altering copies of artworks, and creating new artworks in another artist’s fictional world. I argue for five claims: (1) while these actions can sometimes infringe on the rights of artists, the (...)
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  24.  15
    Aesthetics and criticism.Harold Osborne - 1955 - Westport, Conn.,: Greenwood Press.
  25.  13
    The Aesthetic Concept of Craftsmanship.Harold Osborne - 1977 - British Journal of Aesthetics 17 (2):138.
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  26.  9
    Art on the Edge: Creators and Situations.Harold Rosenberg - 1983 - University of Chicago Press.
    Discusses the aesthetic orientations and creative directions of prominent contemporary artists as well as the nature and implications of the various modern movements.
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  27.  37
    Some theories of aesthetic judgment.Harold Osborne - 1979 - Journal of Aesthetics and Art Criticism 38 (2):135-144.
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  28.  95
    Aesthetics.Harold Osborne - 1972 - London,: Oxford University Press.
    Valéry, P. The idea of art.--Sartre, J.-P. The work of art.--Ingarden, R. Artistic and aesthetic values.--Merleau-Ponty, M. Eye and mind.--Moore, G. E. Wittgenstein's lectures in 1930-33.--Findlay, J. N. The perspicuous and the poignant.--Hungerland, I. C. Once again, aesthetic and non-aesthetic.--Wollheim, R. On drawing an object.--Elliott, R. K. Aesthetic theory and the experience of art.--Savile, A. The place of invention in the concept of art.--Bibliography (p. [178]-184).
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  29. Literary Cognitivism.James Harold - 2015 - In Noël Carroll & John Gibson (eds.), The Routledge Companion to Philosophy of Literature. New York: Routledge.
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  30.  89
    On judging the moral value of narrative artworks.James Harold - 2006 - Journal of Aesthetics and Art Criticism 64 (2):259–270.
    In this paper, I argue that in at least some interesting cases, the moral value of a narrative work depends on the aesthetic properties of that artwork. It does not follow that a work that is aesthetically bad will be morally bad (or that it will be morally good). The argument comprises four stages. First I describe several different features of imaginative engagement with narrative artworks. Then I show that these features depend on some of the aesthetic properties of those (...)
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  31. Aesthetics and Art Theory. An Historical Introduction.Harold Osborne - 1970 - Philosophy 45 (173):254-255.
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  32.  6
    Aesthetics and Art Theory: An Historical Introduction.Harold Osborne - 1968 - Longmans.
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  33.  10
    Aesthetics in the modern world.Harold Osborne - 1968 - New York,: Weybright & Talley.
  34. Can Expressivists Tell the Difference Between Beauty and Moral Goodness?James Harold - 2008 - American Philosophical Quarterly 45 (3):289-300.
    One important but infrequently discussed difficulty with expressivism is the attitude type individuation problem.1 Expressivist theories purport to provide a unified account of normative states. Judgments of moral goodness, beauty, humor, prudence, and the like, are all explicated in the same way: as expressions of attitudes, what Allan Gibbard calls “states of norm-acceptance”. However, expressivism also needs to explain the difference between these different sorts of attitude. It is possible to judge that a thing is both aesthetically good and morally (...)
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  35. Aesthetics.Harold Osborne & G. J. Warnock - 1975 - Mind 84 (335):475-476.
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  36. Aesthetics and Criticism.HAROLD OSBORNE - 1955 - Philosophy 31 (118):262-262.
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  37. Aesthetics and Value.Harold Osborne - 1974 - Revue Internationale de Philosophie 28 (3=109):280.
     
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  38.  27
    Aesthetic experience and cultural value.Harold Osborne - 1986 - Journal of Aesthetics and Art Criticism 44 (4):331-337.
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  39. Aesthetic implications of conceptual art, happenings, etc.Harold Osborne - 1980 - British Journal of Aesthetics 20 (1):6-22.
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  40.  78
    Aesthetic perception.Harold Osborne - 1978 - British Journal of Aesthetics 18 (4):307-316.
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  41. What is a work of art?Harold Osborne - 1981 - British Journal of Aesthetics 21 (1):3-11.
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  42.  23
    Studies in Comparative Aesthetics.Harold E. McCarthy - 1954 - Philosophy East and West 4 (3):273-275.
  43. Mathematical beauty and physical science.Harold Osborne - 1984 - British Journal of Aesthetics 24 (4):291-300.
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  44.  12
    Literature as a resource in personality study: Theory and methods.Harold Grier Mccurdy - 1949 - Journal of Aesthetics and Art Criticism 8 (1):42-46.
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  45.  9
    Born under Saturn: The Character and Conduct of ArtistsLeonardo Da Vinci and a Memory of His Childhood.Harold J. McWhinnie, Rudolf Wittkower, Margot Wittkower & Sigmund Freud - 1970 - Journal of Aesthetic Education 4 (3):152.
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  46.  12
    On the Rights of Artworks.Harold McWhinnie - 1999 - The Journal of Aesthetic Education 33 (3):101.
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  47.  16
    Psychology and the Visual Arts.Harold J. McWhinnie & James Hogg - 1973 - Journal of Aesthetic Education 7 (1):115.
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  48.  12
    The Historical Narrative.Harold McWhinnie - 1998 - The Journal of Aesthetic Education 32 (1):88.
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  49.  62
    The problem of structure in art education.Harold James McWhinnie - 1966 - British Journal of Aesthetics 6 (3):291-297.
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  50.  10
    Marx's lost aesthetic: Karl Marx and the visual arts : Margaret A. Rose , x + 216pp., £22.50. [REVIEW]Harold E. Mah - 1987 - History of European Ideas 8 (2):233-234.
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