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  1. Reasons, Normativity, and Value in Aesthetics.Alex King - 2022 - Philosophy Compass 17 (1):1-17.
    Discussions of aesthetic reasons and normativity are becoming increasingly popular. This piece outlines six basic questions about aesthetic reasons, normativity, and value and discusses the space of possible answers to these questions. I divide the terrain into two groups of three questions each. First are questions about the shape of aesthetic reasons: what they favour, how strong they are, and where they come from. Second are relational questions about how aesthetic reasons fit into the wider normative landscape: whether they are (...)
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  2. On the Relative Unimportance of Aesthetic Value in Evaluating Visual Arts.Tomas Kulka - forthcoming - British Journal of Aesthetics:ayab027.
    Contrary to the received view according to which the value of works of art consists exclusively or primarily in their aesthetic value I argue that the importance of aesthetic value has been grossly overrated. In earlier publications I have shown that the assumption stipulating that the value of artworks consists exclusively in their aesthetic value is demonstrably wrong. I have suggested a conceptual distinction between the aesthetic and the artistic value arguing that when it comes to evaluation the artistic value, (...)
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  3. Poetry and the Possibility of Paraphrase.Gregory Currie & Jacopo Frascaroli - 2021 - The Journal of Aesthetics and Art Criticism 79 (4):428-439.
    Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is meaning (...)
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  4. Architectural Value and the Artistic Value of Architecture.Harry Drummond - 2021 - Debates in Aesthetics 17 (1):13-28.
    This paper seeks to refute the claim that architectural value is one and the same value as the artistic value of architecture. As few scholars explicitly endorse this claim, instead tacitly holding it, I term it the implicit claim. Three potential motivations for the implicit claim are offered before it is shown that, contrary to supporting the claim, they set the foundations for considering architectural value and the artistic value of architecture to be distinct. After refuting the potential motivations and (...)
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  5. Two Dogmas of Aesthetic Empiricism.Dominic McIver Lopes - 2021 - Metaphilosophy 52 (5):583-592.
    Aesthetic hedonism is the default theory of aesthetic value. Some of its critics share with it a pair of unquestioned assumptions, namely, that any theory of aesthetic value should make special appeal to its being the case that the canonical form of aesthetic evaluation is a state of pleasure and to its being the case that the canonical purpose of aesthetic acts is to access pleasure. This paper argues that there is reason to doubt both assumptions. Doubting both assumptions suggests (...)
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  6. Laying One’s Cards on the Table: Experiencing Exile and Finding Our Feet in Moral Philosophical Encounters.Camilla Kronqvist & Natan Elgabsi - 2021 - Open Philosophy 4 (1):404-424.
    Engaging with the philosophical writings of Iris Murdoch, we submit that there are difficulties associated with providing a good description of morality that are intimately connected with difficulties in understanding other human beings. We suggest three senses in which moral philosophical reflection needs to account for our understanding of others: the failure to understand someone is not merely an intellectual failure, but also engages us morally; the moral question of understanding is not limited to the extent to which we understand (...)
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  7. The "Work" of Art: Stanisław Brzozowski and Bernard Stiegler.Adrian Mróz - 2021 - Humanities and Social Sciences 28 (3):39-48.
    This article relates the ideas of Stanisław Brzozowski (1878-1911) with those of Bernard Stiegler (1952-2020), both of whom problematize the "work" of art understood as a labor practice. Through the conceptual analysis of epigenetics and epiphylogenetics for aesthetic theory, I claim that both thinkers develop practical concepts relevant to contemporary art philosophy. First, I present an overview of Brzozowski's aesthetics, for whom literature and the arts are linked with ethics, and aesthetic form is tied with moral judgment. Then, I continue (...)
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  8. Markosian’s Sideways Music and Aesthetic Value Gluts.Jeremiah Joven B. Joaquin - forthcoming - Acta Analytica:1-9.
    In “Sideways Music”, Ned Markosian presents the aesthetic value variance of sideways music as a case against what the Spacetime Thesis—the thesis that time is one of four similar dimensions that make up spacetime. Critics have already raised worries about the premises of his argument. In this paper, I focus on Markosian’s assumed aesthetic realism. I argue that there is a version of aesthetic realism—a version that admits aesthetic value gluts—that is consistent with both the Spacetime Thesis and the aesthetic (...)
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  9. Judgments of Beauty in Theory Evaluation.Devon Brickhouse-Bryson - 2021 - Lexington Books.
    The role of judgments of beauty in scientific theory evaluation is the subject of significant debate in contemporary philosophy of science. This book advances that debate by broadening its scope. In Judgments of Beauty in Theory Evaluation, the author argues that judgments of beauty are a justified part of theory evaluation of all sorts: not only scientific theory evaluation, but also philosophical theory evaluation. The author argues for this thesis by providing an account of beauty—inherited from Kant and Mothersill—on which (...)
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  10. Los valores estéticos en la perspectiva de Jan Mukarovsky.José Ramón Fabelo Corzo - 2002 - El Cuervo, Revista de la Universidad de Puerto Rico 14 (28):11-15.
    El filósofo checo Jan Mukarovsky (1891-1975) fue uno de los fundadores del Círculo de Praga. Fue el primero en intentar desarrollar una estética semiológica, cuya herramienta metodológica fundamental es el signo. Él está consciente de que el fenómeno estético no es igual ni reductible al lingüístico, por lo que procura una definición del signo mucho más amplia de la que es habitual en los medios lingüísticos. Por ese camino se topa con el tema de los valores estéticos. Su enfoque de (...)
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  11. An Interview with Tom Cochrane.Tom Cochrane, Rohan Srivastava & Alexandra Crotty - 2021 - Washington University Review of Philosophy 1:34-40.
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  12. Ugliness Is in the Gut of the Beholder.Ryan P. Doran - forthcoming - Ergo: An Open Access Journal of Philosophy.
    I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...)
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  13. Toward a Communitarian Theory of Aesthetic Value.Nick Riggle - forthcoming - Journal of Aesthetics and Art Criticism.
    Our paradigms of aesthetic value condition the philosophical questions we pose and hope to answer about it. Theories of aesthetic value are typically individualistic, in the sense that the paradigms they are designed to capture, and the questions to which they are offered as answers, center the individual’s engagement with aesthetic value. Here I offer some considerations that suggest that such individualism is a mistake and sketch a communitarian way of posing and answering questions about the nature of aesthetic value.
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  14. Pragmatic Saintliness: Toward a Criticism and Celebration of Community.Benjamin Davis - 2021 - Contemporary Pragmatism 1 (18):72-94.
    This essay responds to John McDermott’s diagnosis of politics and religious life in the U.S.: “[B]oth traditional political and religious institutions are no longer an adequate let alone rich resource for a celebratory language.” I present a new celebratory language by reading William James’s description of saintliness in Varieties of Religious Experience. James gives me the resources to naturalize and democratize saintliness. Distinguished not by her transcendent miracles but by her this-worldly energies and experiments, the pragmatic saint remakes the experience (...)
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  15. Traditional Kitsch and the Janus-Head of Comfort.C. E. Emmer - 2014 - In Justyna Stępień (ed.), Redefining Kitsch and Camp in Literature and Culture. Cambridge Scholars Publishing. pp. 23-38.
    "C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' The author offers critical (...)
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  16. Empathy in Appreciation: An Axiological Account.Íngrid Vendrell Ferran - 2021 - Journal of Aesthetics and Art Criticism 79 (2):233-238.
    This paper argues that certain literary works can only be fully appreciated if the reader is able to experience through empathy the character’s values. I call it "the axiological account" because it makes the grasping of aesthetic values dependent on the experience of other values embodied in the work. I develop my argument in three stages. First, I argue that in empathy we not only apprehend but also experience something similar to what the target is going through. Next, I show (...)
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  17. A Song Turned Sideways Would Sound as Sweet.Zachary Ferguson - 2021 - Analysis 81 (1):14-18.
    Markosian presents an argument against certain theories of time based on the aesthetic value of music. He argues that turning a piece of music sideways in time destroys its intrinsic value, which would not be possible if the Spacetime Thesis were true. In this paper I show that sideways music poses no problems for any theory of time by demonstrating that turning a piece of music sideways does not affect its intrinsic value. I do this by appealing to spatial analogies (...)
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  18. Disjecta Membra: Althusser’s Aestethics Reconsidered.William S. Lewis & Bargu Banu - 2021 - Filozofski Vestnik 1 (41):7-59.
    This essay takes a synthetic and critical approach to the scattered pieces of art criticism and aesthetic theory authored by Louis Althusser. Connecting these texts to his larger philosophical and political project, we argue that these reflections make an independent contribution to its worth and that they offer different perspectives on lingering theoretical problems. We piece together the insights that form the core of the Althusserian approach to aesthetics and show how these are formulated (in connection with the work of (...)
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  19. Presentación. Arte e identidad. Entre lo corporal y lo imaginario.José Ramón Fabelo Corzo - 2015 - In José Ramón Fabelo Corzo & Jaime Torija Aguilar (eds.), Arte e identidad. Entre lo corporal y lo imaginario. Puebla, Pue., México: pp. 11-13.
    La identidad, el cuerpo y los imaginarios, en su vínculo con el arte y la cultura, son los conceptos básicos presentes en este libro. La asociación entre ellos no es nada casual. Responde a importantes necesidades epistemológicas y prácticas en la comprensión de lo que somos, de la medida en que el arte y la cultura nos constituyen y del modo en que lo corporal y lo imaginario se convierten en depositarios de los atributos que nos identifican. Esta sexta entrega (...)
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  20. The Practice of Medicine as Being in Time.Raymond C. Barfield - 2020 - ibidem/Columbia University Press.
    This is an exciting, but difficult, season for the practice of medicine. The effects of corporate transformation on the practice are part of a larger cultural crisis. The arena of medicine is a proving ground for our responses to this crisis, because it is so intimately and immediately related to our bodies. Our answers to contemporary challenges in the practice of medicine will depend on, and probably shape, our answers to philosophical questions at the core of our existence: How do (...)
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  21. Howard Phillips Lovecraft: Romantic on the Nightside.Jan B. W. Pedersen - 2018 - Lovecraft Annual 12:165-173.
    Howard Phillips Lovecraft can be viewed as a Romantic based on his lifelong relationship with wonder. This short essay gathers further evidence of Lovecraft’s Romanticism, beginning with a brief exploration of what Romanticism is and then moving on to highlight elements of Romanticism in Lovecraft’s poem “Fact and Fancy” (1917). The essay concludes that, as much as Lovecraft can be labelled a Romantic based on his affinity with wonder, he can also be classified as such based on his aversion to (...)
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  22. Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity.Eli I. Lichtenstein - 2021 - British Journal of Aesthetics 61 (4):505-526.
    While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...)
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  23. The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 55 (1):199-220.
    The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...)
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  24. Empathie in der Kunst.Íngrid Vendrell-Ferran - forthcoming - In Siegmund Judith (ed.), Handbuch Kunstphilosophie.
    Dieses Kapitel handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...)
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  25. Aesthetic Learners and Underachievers: Symposium on Dom Lopes’s Being for Beauty.Samantha Matherne - 2021 - Philosophy and Phenomenological Research 102 (1):227-231.
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  26. Punting on the Aesthetic Question.James Shelley - 2021 - Philosophy and Phenomenological Research 102 (1):214-219.
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  27. Life Through a Lens.Dan Cavedon-Taylor - forthcoming - In Sophie Archer (ed.), Salience: A Philosophical Inquiry.
    Kantian disinterest is the view that aesthetic judgement is constituted (at least in part) by a form of perceptual contemplation that is divorced from concerns of practical action. That view, which continues to be defended to this day, is challenged here on the basis that it is unduly spectator-focussed, ignoring important facets of art-making and its motivations. Beauty moves us, not necessarily to tears or rapt contemplation, but to practical action; crucially, it may do so as part and parcel of (...)
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  28. Estética inorgánica. Detroit en Only Lovers Left Alive.Leonardo Arriagada - 2020 - Archivos de la Filmoteca (78):111-124.
    El cine de Jim Jarmusch es reconocible por captar momentos de quietud en los que la acción y el drama son secundarios. Es por ello que su film Only Lovers Left Alive ha sido tan destacado por críticos y académicos. Esta película ha llevado a la pantalla la estética ruinosa de Detroit. Este artículo amplía esas recientes investigaciones, para postular que la Detroit de Jarmusch es una ciudad estéticamente inorgánica. Siguiendo a grandes rasgos los lineamientos de Wilhelm Worringer, se analiza (...)
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  29. Miksi tieteilijöiden kannattaa tehdä yhteistyötä taiteilijoiden kanssa.Inkeri Koskinen - 2018 - Ajatus 75:93–119.
    Mitä tiedollista hyötyä tieteilijöille voi olla tutkimusyhteistyöstä taiteilijoiden kanssa? Taiteilijoiden kanssa työskennelleet tieteilijät usein kyllä pitävät kokemusta kiehtovana, mutta sen hyötyjen tarkka kuvaaminen vaikuttaa vaikealta. Monialaisen yhteistyön odotetaan usein lisäävän tutkimuksen yhteiskunnallista vaikuttavuutta, mutta odotus ei sovellu juuri tieteilijöiden ja taiteilijoiden yhteistyöhön kovinkaan hyvin. Selkeytän sosiaalisessa epistemologiassa ja feministisessä tieteenfilosofiassa esitettyjen ajatusten ja argumenttien sekä kahden tapausesimerkin avulla tapoja, joilla tieteilijöiden yhteistyö taiteilijoiden kanssa voi olla tiedollisesti hedelmällistä. Taiteen ja taiteellisen tutkimuksen keinoin voi joskus tuottaa tietoa. Tiedollisesti tärkeämpänä pidän kuitenkin (...)
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  30. The Virtue of Aesthetic Courage.Alan T. Wilson - 2020 - British Journal of Aesthetics 60 (4):455-469.
    Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing (...)
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  31. Literary Appreciation in the Framework of Positivism.Vincenz Pieper - 2020 - Journal of Literary Theory 1 (14):76-93.
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  32. Apuntes para una interpretación axiológica del arte.José Ramón Fabelo Corzo - 2011 - In Cynthia Pech & Vivian Romeu (eds.), Lo comunicativo, lo artístico y lo estético. Parte III: Práctica y recepción del arte. Reflexión y análisis. México: pp. 27-40.
    Se trata de un estudio aproximativo al tema de la naturaleza axiológica del arte y la relación dentro de él entre valores estéticos y otros valores.
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  33. Non-Standard Emotions and Aesthetic Understanding.Irene Martínez Marín - 2020 - Estetika 2 (57):135–49.
    For cognitivist accounts of aesthetic appreciation, appreciation requires an agent (1) to perceptually respond to the relevant aesthetic features of an object o on good evidential grounds, (2) to have an autonomous grasp of the reasons that make the claim about the aesthetic features of o true by pointing out the connection between non-aesthetic features and the aesthetic features of o, (3) to be able to provide an explanation of why those features contribute to the overall aesthetic value of o. (...)
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  34. La industria cultural y su relación con el valor de la producción musical.José Ramón Fabelo Corzo & Ernesto García Cabrera - 2013 - In Ramón Patiño Espino & José Antonio Pérez Diestre (eds.), Universalidad y variedad en la estética y el arte. Puebla, Pue., México: pp. 259-266.
    El trabajo cuestiona críticamente cierta visión extrema y unilateral apreciable en Adorno y Horkheimer al juzgar la relación de la industria cultural con la música. Es cierto que hoy prácticamente toda actividad humana se encuentra condiciona¬da por el mercado y que la música no es una excepción. Ella también es portadora de valor de cambio que tiende a ser dominante en los marcos de la industrial cultural. Pero es plausible que dentro de las industrias culturales mismas se empezara a hacer (...)
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  35. Teatro y Estética del Oprimido. Homenaje a Augusto Boal.José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.) - 2016 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Este libro inaugura la serie Homenaje de la Colección La Fuente. Con él se busca reconocer, de manera particular, al pensador, dramaturgo y director brasileño Augusto Boal (1931-2009), creador del teatro y la estética del oprimido, genuina aportación cultural latinoamericana que mucho tiene que ver con ese particular lugar de enunciación que es Nuestra América y sus siempre actuales expectativas emancipadoras. El libro fue precedido y nutrido por un Coloquio que en mayo de 2014 reunió a importantes especialistas y seguidores (...)
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  36. Aproximación teórica a la especificidad de los valores estéticos.José Ramón Fabelo Corzo - 2004 - Graffylia 4 (4):17-25.
    El artículo busca acercarse a la comprensión de los rasgos particulares de los valores estéticos, fundamentalmente en las obras de arte. Para ello parte de la premisa de que el valor estético no es en sí mismo un atributo del objeto artístico, ni el resultado exclusivo de la plasmación en él de cierto ideal estético. Para que un objeto sea portador de valor estético ha de funcionar precisamente como tal, lo cual presupone la presencia y participación de otros sujetos que (...)
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  37. ¿Qué hacer con el legado teórico-práctico de Augusto Boal? (A modo de Presentación).José Ramón Fabelo Corzo & Ana Lucero López Troncoso - 2016 - In José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.), Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Puebla, Pue., México: pp. 11-21.
    El texto sirve como capítulo introductorio y de presentación del libro Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Se reflexiona y evalúa críticamente sobre los diferentes "usos" que se hacen del legado teórico-práctico de Augusto Boal, lo que se hace y lo que, ajuicio de los autores, se debe hacer con él. Se describe además las fuentes y el contenido capitular del libro en cuestión.
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  38. Art and achievement.James Grant - 2020 - Philosophical Studies 177 (9):2517-2539.
    An increasingly popular view in the philosophy of art is that some artworks are good artworks at least partly because they are achievements. This view was introduced to explain why two works that look the same, such as an original painting and a perfect copy, can differ in artistic merit. An achievement theory can say that the original is better because it is a greater achievement. Achievement theories have since been used to answer other questions, and they are now a (...)
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  39. Aesthetic Truth Through the Ages: A Lonerganian Theory of Art History.Ryan Miller - forthcoming - Proceedings of the American Catholic Philosophical Association 94 (2020).
    Classical authors were generally artistic realists. The predominant aesthetic theory was mimesis, which saw the truth of art as its successful representation of reality. High modernists rejected this aesthetic theory as lifeless, seeing the truth of art as its subjective expression. This impasse has serious consequences for both the Church and the public square. Moving forward requires both, first, an appreciation of the strengths and weaknesses of the high modernist critique of classical mimetic theory, and, second, a theory of truth (...)
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  40. Reflective Equilibrium, Judgments of Beauty, and Judgments of Coherence.Devon Brickhouse-Bryson - 2019 - Soundings: An Interdisciplinary Journal 1 (102):31-60.
    Reflective equilibrium is a powerful and popular method of theory evaluation. This article argues that the judgments of coherence required by the method are unexplained by the going accounts of reflective equilibrium and that they are best understood as a species of judgments of beauty. It argues that the distinctive feature of judgments of beauty is that they are unprincipled and yet nevertheless possible and that judgments of coherence share this distinctive feature. This conclusion entails that reflective equilibrium is a (...)
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  41. The Normative Significance of Flatulence: Aesthetics, Etiquette, and Ethics.Karl Pfeifer - 2020 - IAFOR Journal of Arts and Humanities 7 (1):17-25.
    Proceeding on the basis of reports of a proposal in 2011 to criminalize public flatulence in Malawi, the normative significance of flatulence is considered from the respective standpoints of aesthetics, etiquette, and ethics, and it is indicated how aesthetics and etiquette may themselves also have ethical significance. It is concluded that etiquette and ethics may both require that certain violations of etiquette and ethics should sometimes be ignored.
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  42. Vergegenwärtigung von Erfahrungen, Perspektivenübernahme und Empathie.Íngrid Vendrell-Ferran - 2018 - In Susanne Schmetkamp & Magdalena Zorn (eds.), Variationen des Mitfühlens. Empathie in Musik, Literatur, Film und Sprache. Mainz, Stuttgart: Franz Steiner Verlag.
    Der Aufsatz ist in zwei Teile gegliedert. Im ersten Teil unterscheide ich das Phänomen der Empathie von ähnlichen Phänomenen. Im zweiten Teil werde ich auf die Bedingungen für Empathie eingehen. In diesem Teil geht es mir darum zu zeigen, dass wir es trotz einiger Unterschiede zwischen Empathie für Mitmenschen und Empathie für Figuren mit demselben Phänomen zu tun haben.
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  43. The Return of the Translator : From the Edge of Meaning to the Edge of Sense.Srajana Kaikini - 2017 - In Marianna Maruyama (ed.), Kunstlicht Special Issue : Translation as Method. Amsterdam, Netherlands: pp. 10 - 25.
    "Translation, as with any practice, is something to return to again and again. Opening this issue, curator and poet Srajana Kaikini’s multi-layered article, ‘The Return of the Translator’ underlines the relevance of translation as a critical process, available to anyone, in any field. Bringing in references to philosopher Sundar Sarukkai, poet Gangadhar Chittal, and Buddhist philosophical principles, she locates the place of translation. Kaikini looks closely at the ways “language and the world are in strange relation with each other,” to (...)
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  44. 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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  45. Can Literature Be Moral Philosophy? A Sceptical View on the Ethics of Literary Empathy.Ingrid Vendrell Ferran - 2011 - In Sebastian Hüsch (ed.), Philosophy and Literature and the Crisis of Metaphysics.
    One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy for fictional (...)
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  46. Spur, Zeugnis Und Imagination: Der Erkenntniswert von Dokumentarfilmen.Íngrid Vendrell-Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1).
    In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...)
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  47. Jealousy and the Sense of Self: Unamuno and the Contemporary Philosophy of Emotion.Íngrid Vendrell-Ferran - forthcoming - Philosophy and Literature.
    This paper explores jealousy in Unamuno’s drama El otro. Drawing on contemporary philosophy of emotion, I will argue that for the Spanish author jealousy gives the subject a sense of self. The paper begins by embedding Unamuno’s philosophical anthropology in the context of contemporary emotion theory. It then presents the drama as an investigation into the affective dimension of self-identity. The third section offers an analysis of jealousy as an emotion of self-assessment. The final section discusses how this drama can (...)
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  48. Feeling for Freedom: K. C. Bhattacharyya on Rasa.Dominic McIver Lopes - 2019 - British Journal of Aesthetics 59 (4):465-477.
    Aesthetic hedonists agree that an aesthetic value is a property of an item that stands in some constitutive relation to pleasure. Surprisingly, however, aesthetic hedonists need not reduce aesthetic normativity to hedonic normativity. They might demarcate aesthetic value as a species of hedonic value, but deny that the reason we have to appreciate an item is simply that it pleases. Such is the approach taken by an important strand of South Asian rasa theory that is represented with great clarity and (...)
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  49. 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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  50. The Re-Orientation of Aesthetics and its Significance for Aesthetic Education. In The Turn to Aesthetics: An Interdisciplinary Exchange of Ideas in Applied and Philosophical Aesthetics.Alexandra Mouriki & D. Palmer, C. And Torevell - 2008 - Liverpool, UK: Liverpool Hope University Press.
    More and more these days it is asked whether aesthetics is still possible. A question that, given the context and phrasing, seems to direct us towards its answer. Conferences and meetings, books and journal specials examine the issue of aesthetics, talk about rediscovery or return of aesthetics. Well known philosophers and aestheticians underscore the need to reconsider the foundations of aesthetics and set new directions for aesthetics today (Berleant, 2004) or attempt to expand aesthetics beyond aesthetics–like Welsch, for example who (...)
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