Results for 'Aesthetics, Harold'

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  1.  28
    Esthetics and epistemology.Harold N. Lee - 1939 - Journal of Philosophy 36 (11):281-290.
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  2.  23
    Creative intelligence: essays in the pragmatic attitude.John Dewey, Harold Chapman Brown, George Herbert Mead, Horace Meyer Kallen & Addison Webster Moore (eds.) - 2020 - New York: Nova Science Publishers.
    Creative Intelligence: Essays in the Pragmatic Attitude represents an attempt at intellectual cooperation. No effort has been made, however, to attain unanimity of belief nor to proffer a platform of "planks" on which there is agreement. The consensus represented lies primarily in outlook, in conviction of what is most likely to be fruitful in method of approach. As the title page suggests, the volume presents a unity in attitude rather than a uniformity in results. Consequently each writer is definitively responsible (...)
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  3. 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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  4.  7
    Aesthetic Analysis.Harold Chapman Brown - 1937 - International Journal of Ethics 47 (2):255-256.
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  5.  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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  6.  28
    Aesthetics and Theory of Art.Harold Osborne - 1971 - Journal of Aesthetics and Art Criticism 30 (2):262-264.
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  7.  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.
  8.  97
    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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  9. Notes on the aesthetics of chess and the concept of intellectual beauty.Harold Osborne - 1964 - British Journal of Aesthetics 4 (2):160-163.
  10.  46
    Aesthetics east and west.Harold E. McCarthy - 1953 - Philosophy East and West 3 (1):47-68.
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  11.  15
    Aesthetics and criticism.Harold Osborne - 1955 - Westport, Conn.,: Greenwood Press.
  12.  6
    Aesthetics and Art Theory: An Historical Introduction.Harold Osborne - 1968 - Longmans.
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  13.  10
    Aesthetics in the modern world.Harold Osborne - 1968 - New York,: Weybright & Talley.
  14.  65
    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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  15.  49
    Aesthetic relevance.Harold Osborne - 1977 - British Journal of Aesthetics 17 (4):291-304.
  16.  18
    Aesthetic choice as a personality function.Harold G. Mccurdy - 1954 - Journal of Aesthetics and Art Criticism 12 (3):373-377.
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  17.  62
    Aesthetic and other forms of order.Harold Osborne - 1982 - British Journal of Aesthetics 22 (1):3-16.
  18.  3
    Review of Harold Osborne: Aesthetics and Criticism[REVIEW]HAROLD OSBORNE - 1956 - Ethics 66 (2):147-150.
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  19. Aesthetics and Art Theory. An Historical Introduction.Harold Osborne - 1970 - Philosophy 45 (173):254-255.
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  20. Aesthetics.Harold Osborne & G. J. Warnock - 1975 - Mind 84 (335):475-476.
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  21. Aesthetics and Criticism.HAROLD OSBORNE - 1955 - Philosophy 31 (118):262-262.
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  22.  27
    Aesthetic experience and cultural value.Harold Osborne - 1986 - Journal of Aesthetics and Art Criticism 44 (4):331-337.
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  23.  78
    Aesthetic perception.Harold Osborne - 1978 - British Journal of Aesthetics 18 (4):307-316.
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  24.  13
    The Aesthetic Concept of Craftsmanship.Harold Osborne - 1977 - British Journal of Aesthetics 17 (2):138.
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  25. Aesthetic implications of conceptual art, happenings, etc.Harold Osborne - 1980 - British Journal of Aesthetics 20 (1):6-22.
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  26. On being moved by fiction.Harold Skulsky - 1980 - Journal of Aesthetics and Art Criticism 39 (1):5-14.
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  27.  10
    Aesthetic Analysis. D. W. Prall.Harold Chapman Brown - 1937 - International Journal of Ethics 47 (2):255-256.
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  28.  37
    Some theories of aesthetic judgment.Harold Osborne - 1979 - Journal of Aesthetics and Art Criticism 38 (2):135-144.
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  29.  68
    Some studies of aesthetic preference.Harold J. McWhinnie - 1987 - British Journal of Aesthetics 27 (1):76-86.
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  30.  19
    Lectures & Conversations on Aesthetics, Psychology and Religious Belief.Harold Morick - 1968 - International Philosophical Quarterly 8 (4):651-653.
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  31.  17
    Readings in the aesthetics of sport.Harold Thomas Anthony Whiting & D. W. Masterson (eds.) - 1974 - London: Lepus Books : [Distributed by] Kimpton.
  32. 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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  33.  23
    The twofold Significance of "Aesthetic Value".Harold Osborne - 1985 - Philosophica 36 (2).
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  34.  6
    Perception and aesthetic value.Harold Newton Lee - 1938 - New York,: Prentice-Hall.
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  35.  9
    Kant's theory of aesthetics.Harold N. Lee - 1931 - Philosophical Review 40 (6):537-548.
  36.  19
    The elucidation of aesthetic experience.Harold Osborne - 1964 - Journal of Aesthetics and Art Criticism 23 (1):145-151.
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  37.  2
    Two Paradoxes of Aesthetic Education.Harold Osborne - 1976 - The Journal of Aesthetic Education 10 (3/4):39.
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  38. Aesthetics and Value.Harold Osborne - 1974 - Revue Internationale de Philosophie 28 (3=109):280.
     
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  39.  31
    On Donald Keene's "japanese aesthetics".Harold E. McCarthy - 1969 - Philosophy East and West 19 (3):310-316.
  40. 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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  41. 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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  42.  3
    Perception and Aesthetic Value.Harold Mewton Lee - 1939 - Philosophical Review 48:443.
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  43.  11
    Proust and Santayana: The Aesthetic Way of LifeVan Meter Ames.Harold A. Larrabee - 1937 - International Journal of Ethics 48 (1):119-120.
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  44.  9
    Oxford Handbook of Ethics and Art.James Harold (ed.) - 2023 - New York, NY: Oxford University Press.
    This volume is about how and whether art can be morally bad (or morally good). Politicians, media pundits, and others frequently complain that particular works of art are morally dangerous, or, sometimes, that particular works are morally edifying (the "great works" of literature, for example). But little attention is often given to the question of what makes art morally good in the first place. This comprehensive volume of forty-five new essays explores a wide variety of historical and theoretical perspectives, looking (...)
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  45.  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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  46.  23
    Studies in Comparative Aesthetics.Harold E. McCarthy - 1954 - Philosophy East and West 4 (3):273-275.
  47.  22
    What Makes an Experience Aesthetic?Harold Osborne - 1986 - In Michael H. Mitias (ed.), Possibility of the aesthetic experience. Norwell, MA, USA: Distributors for the U.S. and Canada, Kluwer Academic. pp. 117--138.
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  48.  66
    The doctrine of reflection in soviet aesthetics.Harold Osborne - 1983 - British Journal of Aesthetics 23 (3):252-258.
  49.  22
    On the pursuit of signs.Harold Skulsky - 1983 - Journal of Aesthetics and Art Criticism 41 (3):289-299.
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  50.  90
    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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