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  1. Renee Bouveresse, Esthetique, psychologie et musique: l'esthetique experimentale et son origine philosophique chez David Hume.J. -P. Cometti - forthcoming - Revue Internationale de Philosophie.
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  2. Hume's aesthetics.Ted Gracyk - forthcoming - The Stanford Encyclopedia of Philosophy. Winter.
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  3. Experience, epistemology and taste in Hume’s aesthetics.Timothy M. Costelloe - 2023 - Studi di Estetica 25.
    This paper distinguishes two components of experience, the subjective and objective, and connects them to the distinction between “individual” and “social” epistemology. These elements, it is then proposed, shape Hume’s approach to knowledge and belief and, by extension, his treatment of taste. The paper con- cludes by distinguishing “philosophical criticism” from “vulgar criticism”; the former reflects Hume’s place in the eighteenth-century “science of man,” while the latter connects him to a tradition that makes aesthetics closer to an art criticism.
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  4. Gusto, teorie della ricezione e competenze critiche. Alcune possibili tracce (e letture) di David Hume nel Novecento.Giacomo Fronzi - 2023 - Studi di Estetica 25.
    The 18th century is the age of aesthetics. This is evidenced not only by the birth of the discipline, but also by the extraordinary production in the field of aesthetic studies, particularly in Germany, England, France, and Italy. David Hume’s Of the standard of taste (1757), a veritable manifesto of aesthetic subjectivism, is also set within this framework. More than two and a half centuries later, how can it be read? In this paper, I will attempt to support a thesis: (...)
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  5. David Hume’s epistemologies of aesthetic experience.Andrea Gatti - 2023 - Studi di Estetica 25.
    When used with regard to aesthetic inquiries prior to the nineteenth century, the concept of "aesthetic experience" is subjected to the criticism of those who consider its a posteriori application illegitimate. At the same time, it seems undeniable that the concept was already present and developed during the 18th century: in particular, among British empiricists. For David Hume, the concept of experience results for many reasons foundational to his aesthetic reflection, especially when analyzed from the perspective of relation/contrast with the (...)
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  6. David Hume, aesthetic properties, and categories of art.Theodore Gracyk - 2023 - Studi di Estetica 25.
    This essay details David Hume’s complex contextualist account of aesthetic properties. Focusing mainly on the essay “Of the standard of taste”, I argue that Hume’s account of aesthetic properties anticipates many points advanced in Kendall Walton’s 1970 essay “Categories of art”, most notably the thesis that proper detection of most aesthetic properties depends on awareness of which nonaesthetic properties are standard, contra-standard, and variable for the relevant category of art. Consequently, they both reject the position we now describe as aesthetic (...)
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  7. La “scienza della natura umana” di Hume e la bellezza dal Trattato ai Saggi.Eugenio Lecaldano - 2023 - Studi di Estetica 25.
    In the “Foreword” to the publication in 1739 of the first two parts of the Treatise on _Human Nature_, devoted to the intellect and the passions, Hume promised, “If I am fortunate enough to be successful, I will proceed to examine morality, politics and criticism, an examination that will complete this Treatise on Human Nature”. This essay takes a general look at Hume's aesthetic reflection, highlighting its dominant developments and crucial passages, in an attempt to show how the methodological and (...)
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  8. Dalla regola alla critica. Il concetto di “gusto” e la funzione della filosofia in David Hume.Giovanni Battista Soda - 2023 - Studi di Estetica 25.
    This work aims to scrutiny the concept of “taste” as developed by David Hume. Firstly, it will be highlighted the impossibility of thinking taste neither as a sub- jectivist nor objectivist aesthetic theory; on the contrary, it will be shown, through Agamben’s work, its underlying radical dialectical structure that seeks to unite subject and object. Furthermore, thanks to Deleuze’s enquiry in Hume’s thought, it will be possible to argue that Hume’s theory of art, rather than being a simple consequence of (...)
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  9. Not Circular: Hume's "Of the Standard of Taste".Mark Windsor - 2023 - Hume Studies 48 (1):7-29.
    One of the gravest charges that has been brought against Hume’s essay “Of the Standard of Taste” is that of circularity. Hume is accused of defining good art in terms of “true judges,” and of defining true judges in terms of their ability to judge good art. First, I argue that Hume avoids circularity since he offers a way of identifying good art that is logically independent of the verdict of true judges. Second, I argue that this clarifies an enduring (...)
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  10. The Philosophical Meaning of Taste : Focusing on the Aesthetics of Hume and Kant. 권오상 - 2023 - Modern Philosophy 21:5-35.
  11. De gustibus est disputandum: An empirical investigation of the folk concept of aesthetic taste.Constant Bonard, Florian Cova & Steve Humbert-Droz - 2022 - In Jeremy Wyatt, Julia Zakkou & Dan Zeman (eds.), Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy. pp. 77-108.
    Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...)
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  12. Classics in Western Philosophy of Art: Major Themes and Arguments.Noël Carroll - 2022 - Hackett Publishing Company.
    In this synthetic introduction to the history of the philosophy of art, Noël Carroll elucidates and analyzes selected writings on art by Plato, Aristotle, Hutcheson, Hume, Kant, Hegel, Schopenhauer, Tolstoy, and Bell. Carroll’s narrative tracks developments between major positions in philosophy of art, ranging from the idea that art is unavoidably embedded in society to the evolution of the notion that art is autonomous ("art for art’s sake"), thereby setting the stage for continuing debates in the philosophy of art. Presupposing (...)
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  13. La conversione tragica in Hume.Filippo Contesi - 2022 - Odradek 8 (2).
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  14. moral expert is an important but unknown concept in Hume's moral philosophy and its correspondence with the familiar approach of the "true judge" in Hume's aesthetics.Zolfaghar Hemmati - 2022 - Journal of Philosophical Investigations 16 (40):259-276.
    In contemporary ethics, moral expert as a person who can recognize sound behaviors in complex situations and be the ideal moral agent. This matter is not new and can be found in Hume's moral philosophy, but it is not as well-known as it should be. If we look at Hume's works, not only we will find a lot of evidence in this issue, but also there is correspondence between it and the true judge, the famous doctrine of Hume’s aesthetics. As (...)
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  15. Taste and experience in eighteenth-century British aesthetics: the move toward empiricism.Dabney Townsend - 2022 - New York: Bloomsbury Academic.
    Taste and Experience in Eighteenth Century Aesthetics acknowledges theories of taste, beauty, the fine arts, genius, expression, the sublime and the picturesque in their own right, distinct from later theories of an exclusively aesthetic kind of experience. By drawing on a wealth of thinkers, including several marginalised philosophers, Dabney Townsend presents a novel reading of the century to challenge our understanding of art and move towards a unique way of thinking about aesthetics. Speaking of a proto-aesthetic, Townsend surveys theories of (...)
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  16. David Hume on Criticism.Teddy Brunius - 2021 - Hassell Street Press.
    This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...)
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  17. Podem ações morais serem belas? Sobre a possibilidade de uma estética moral a partir de David Hume.Daniel de Vasconcelos Costa - 2021 - Philósophos - Revista de Filosofia 25 (2).
    O presente artigo tem como objetivo defender a possibilidade da existência da beleza moral a partir da teoria moral e estética de David Hume. A relação entre a estética e a moralidade será analisada, na primeira parte. A hipótese da beleza moral será colocada como uma destas possíveis relações. Dentro das possibilidades de se fundamentar a beleza moral, será argumentado que a melhor seria através da compreensão humeana da estética e da moralidade. A segunda parte do artigo analisa o conceito (...)
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  18. quasi-objetividade na teoria dos valores de David Hume.Carlota Salgadinho Ferreira - 2021 - Veritas – Revista de Filosofia da Pucrs 66 (1):e40224.
    O objetivo deste artigo consiste em responder à questão de saber se, na filosofia de Hume, o padrão para determinar o valor de verdade dos proferimentos sobre valores morais e estéticos pode ser considerado genuinamente objetivo. Para tal, começo por esclareço três posições que se pode adotar sobre a questão de saber se este padrão é ou não genuinamente objetivo, a saber, subjetivismo, intersubjetivismo e objetivismo. Em seguida, explico a pertinência da interpretação cognitivista e por que razão a interpretação realista (...)
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  19. No Tension. David Hume’s Solution to Everyday Aesthetics.María Jesús Godoy - 2021 - Espes. The Slovak Journal of Aesthetics 10 (2):11-24.
    This study looks at the emerging branch of everyday aesthetics from the perspective of the fracture which exists in its core, as a result of the double reading of the everyday: the first, which elevates it to the realm of the extraordinary and the second, in which it remains strictly ordinary. Our purpose here is to repair this fracture by turning to David Hume’s functionalist aesthetics, where disinterest and utility are reconciled through sympathy and the affective experience of otherness that (...)
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  20. No Tension. David Hume’s Solution to Everyday Aesthetics.María Jesús Godoy - 2021 - Espes. The Slovak Journal of Aesthetics 11 (1):11-24.
    This study looks at the emerging branch of everyday aesthetics from the perspective of the fracture which exists in its core, as a result of the double reading of the everyday: the first, which elevates it to the realm of the extraordinary and the second, in which it remains strictly ordinary. Our purpose here is to repair this fracture by turning to David Hume’s functionalist aesthetics, where disinterest and utility are reconciled through sympathy and the affective experience of otherness that (...)
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  21. Aspectos literarios de la filosofía de Hume.Mario Edmundo Chávez Tortolero - 2021 - In Filosofía y literatura: estudios de caso, Chávez Tortolero, Mario (coord.). México: pp. 83-114.
    En este capítulo sostengo que la filosofía de Hume tiene elementos literarios y que dichos elementos no sólo ilustran o ejemplifican elementos filosóficos, sino que forman parte de la teoría misma; además, que la literatura es una parte integral de su concepción de la filosofía. Lo anterior nos permite justificar la tesis sobre los aspectos literarios de la filosofía de Hume y entender en qué sentido hay un continuo entre ambas. Primero, se ofrece una noción de literatura a partir de (...)
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  22. Beyond Autonomy in Eighteenth-Century British and German Aesthetics.Karl Axelsson, Camilla Flodin & Mattias Pirholt (eds.) - 2020 - New York: Routledge.
    This volume re-examines traditional interpretations of the rise of modern aesthetics in eighteenth-century Britain and Germany. It provides a new account that connects aesthetic experience with morality, science, and political society. In doing so, the book challenges longstanding teleological narratives that emphasize disinterestedness and the separation of aesthetics from moral, cognitive, and political interests. The chapters are divided into three thematic parts. The chapters in Part I demonstrate the heteronomy of eighteenth-century British aesthetics. They chart the evolution of aesthetic concepts (...)
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  23. Hume’s “projectivism” explained.Miren Boehm - 2020 - Synthese 199 (1-2):815-833.
    Hume appeals to a mysterious mental process to explain how to world appears to possess features that are not present in sense perceptions, namely causal, moral, and aesthetic properties. He famously writes that the mind spreads itself onto the external world, and that we stain or gild natural objects with our sentiments. Projectivism is founded on these texts but it assumes a reading of Hume’s language as merely metaphorical. This assumption, however, conflicts sharply with the important explanatory role that “spreading” (...)
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  24. Mixed Emotions in Life and Art: On Hume's Direct Passions.Angela M. Coventry - 2020 - Think 19 (55):75-83.
    This article is about David Hume's account of mixed emotions. Hume on mixed emotions is connected with Sir Isaac Newton's optical experiments and subsequent invention of the colour wheel, as well as more recently to Robert Plutchik's colour wheel of emotions.
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  25. El criterio artístico.Fernando Infante del Rosal - 2020 - Cartaphilus 18 (18):148-169.
    La disciplina estética se ha interesado frecuentemente por el criterio estético –aquel por el que se discrimina o se determina qué es y qué no es el arte, o bien si algo es o no arte– pero raras veces se ha preguntado qué son y cómo operan los criterios artísticos, aquellos que están implicados en la creación o la crítica. Este artículo pretende ofrecer una caracterización de tales criterios a partir de su relación con la regla y con el juicio, (...)
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  26. Sobre una posible influencia del Quijote en el pensamiento de Hume.Mario Edmundo Chávez Tortolero - 2020 - Ciudad de México, CDMX, México: Universidad Nacional Autónoma de México / Itaca.
    A lo largo de este libro se ofrece una interpretación novedosa y sugerente del pensamiento de David Hume y del Quijote, leído y citado por aquél, siendo una obra muy influyente en la Inglaterra de su tiempo. El autor pretende mostrar que la influencia del Quijote en el pensamiento de Hume es posible, probable y plausible, para lo cual ofrece diversos argumentos. Desarrolla su interpretación mostrando que un fragmento extraído del Quijote es indispensable para la postulación del criterio del gusto (...)
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  27. Reading David Hume’s » Of the Standard of Taste «.Babette E. Babich (ed.) - 2019 - Berlin, Germany: De Gruyter.
    This collection dedicated to and including David Hume's "Of the Standard of Taste," offers a much needed resource for students and scholars of philosophical aesthetics, political reflection, value and judgments, economics, and art. The authors include experts in the philosophy of art, aesthetics, history of philosophy as well as the history of science. Contributors include Babette Babich, Howard Caygill, Timothy M.Costelloe, Andrej Démuth / Slávka Démuthová, Bernard Freydberg, Peter Kivy, Carolyn Korsmeyer, Christopher MacLachlan, Emilio Mazza, Roger Schiner, Roger Scruton, and (...)
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  28. De Pulchritudine non est Disputandum? A cross‐cultural investigation of the alleged intersubjective validity of aesthetic judgment.Florian Cova, Christopher Y. Olivola, Edouard Machery, Stephen Stich, David Rose, Mario Alai, Adriano Angelucci, Renatas Berniūnas, Emma E. Buchtel, Amita Chatterjee, Hyundeuk Cheon, In-Rae Cho, Daniel Cohnitz, Vilius Dranseika, Ángeles E. Lagos, Laleh Ghadakpour, Maurice Grinberg, Ivar Hannikainen, Takaaki Hashimoto, Amir Horowitz, Evgeniya Hristova, Yasmina Jraissati, Veselina Kadreva, Kaori Karasawa, Hackjin Kim, Yeonjeong Kim, Minwoo Lee, Carlos Mauro, Masaharu Mizumoto, Sebastiano Moruzzi, Jorge Ornelas, Barbara Osimani, Carlos Romero, Alejandro Rosas, Massimo Sangoi, Andrea Sereni, Sarah Songhorian, Paulo Sousa, Noel Struchiner, Vera Tripodi, Naoki Usui, Alejandro V. del Mercado, Giorgio Volpe, Hrag A. Vosgerichian, Xueyi Zhang & Jing Zhu - 2019 - Mind and Language 34 (3):317-338.
    Since at least Hume and Kant, philosophers working on the nature of aesthetic judgment have generally agreed that common sense does not treat aesthetic judgments in the same way as typical expressions of subjective preferences—rather, it endows them with intersubjective validity, the property of being right or wrong regardless of disagreement. Moreover, this apparent intersubjective validity has been taken to constitute one of the main explananda for philosophical accounts of aesthetic judgment. But is it really the case that most people (...)
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  29. David Hume y la cultura de la sensibilidad.Antonio José Cano López - 2019 - Mutatis Mutandis: Revista Internacional de Filosofía 13.
    La “Cultura de la Sensibilidad (Sensibility)” ha sido un término destacado por algunos crı́ticos, para denominar una época entre la Era Augusta y el movimiento romántico. La Sensibilidad (Sensibility) estuvo unida a un sentido de la compasión producida por el sufrimiento del otro. Su máxima expresión fue la “novela sentimental” de Richardson y Sterne. David Hume, con una moral fundada en los conceptos de simpatı́a y benevolencia, ha sido considerado como uno de los artı́fices de esta Cultura. Sin embargo, llevó (...)
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  30. Fluctuations : manners and religion in Hume's Standard of Taste.Emilio Mazza - 2019 - In Angela Michelle Coventry & Alex Sager (eds.), The Humean Mind. Routledge.
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  31. Food and the Association of Perceptions.S. K. Wertz - 2019 - International Journal of Applied Philosophy 33 (2):295-304.
    It has long been claimed and supposedly substantiated that there exists an association of ideas, but not of perceptions (that is, sensations or impressions). Collingwood echoed this claim from Hume, but Hume later in the Treatise produced an association of impressions (actually emotions and passions), so he came close to Hobbes’s position: human physiology has “trains of sense” and these are carried on in human thought—what we call “ideas” (he called “decaying sense”). A strong case can be made for this (...)
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  32. Hume and the two tastes : bodily and mental.Christopher Williams - 2019 - In Angela Michelle Coventry & Alex Sager (eds.), The Humean Mind. Routledge.
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  33. David Hume in To the Lighthouse.Justin W. Keena - 2018 - Philosophy and Literature 42 (2):376-393.
    Imagine a reader expert in the scholarship on To the Lighthouse and yet ignorant of the novel itself. What would such a person, when finally sitting down to read it for the first time, know—or think they know—about its relationship to philosophy? Based solely on the reams of articles, book chapters, and monographs that place the novel in dialogue with one or more philosophers, the first-time reader of To the Lighthouse would predict with confidence and precision which thinkers are most (...)
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  34. From hume’s “delicacy” to contemporary art.Anne Sejten - 2018 - Nordic Journal of Aesthetics 26 (54).
    David Hume’s essay “Of the Standard of Taste” —which represents a major step towards clarifying eighteenth-century philosophy’s dawning aesthetics in terms of taste—also relates closely to literal, physical taste. From the analogy between gustatory and critical taste, Hume, apt at judging works of art, puts together a contradictory argument of subjectivism and the normativity of common sense. However, a careful reading of the text unveils a way of appealing to art criticism as a vital component in edifying a philosophically more (...)
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  35. Eighteenth Century British Aesthetics.James Shelley - 2018 - Stanford Encyclopedia of Philosophy.
    18th-century British aesthetics addressed itself to a variety of questions: What is taste? What is beauty? Is there is a standard of taste and of beauty? What is the relation between the beauty of nature and that of artistic representation? What is the relation between one fine art and another? How ought the fine arts be ranked one against another? What is the nature of the sublime and ought it be ranked with the beautiful? What is the nature of genius (...)
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  36. The Standard of Taste in David Hume’s Philosophy.Li Shuren - 2018 - Yearbook for Eastern and Western Philosophy 2018 (3):184-192.
    AbstractHume is perhaps the most skeptical of all the great philosophers; and so it might reasonably have been assumed that he would have doubted the existence of a standard of taste in an area of human activity, the arts, where very many people, not ordinarily considered of a skeptical turn of mind, have doubted the existence of any standard according to his 1757 essay Of the Standard of Taste.
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  37. Hume, Halos, and Rough Heroes: Moral and Aesthetic Defects in Works of Fiction.E. M. Dadlez - 2017 - Philosophy and Literature 41 (1):91-102.
    The starting point of this paper is a recent exchange in the Journal of Aesthetics and Art Criticism1 that pits moderate moralism against robust immoralism and has Humean antecedents. I will proceed by agreeing in part with both, but fully with neither, thereby annoying as many people as possible in one go. I believe, with Anne Eaton, the proponent of robust immoralism, that fictions which valorize what she calls "rough heroes" can arouse both aesthetically compelling and morally troubling reactions. On (...)
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  38. El nacimiento de la estética moderna: D. Hume y A.G. Baumgarten. La estética como ciencia del conocimiento sensitivo / The birth of modern aesthetics. Aesthetics as the science of sensitive knowledge: D. Hume and A.G. Baumgarten. [REVIEW]Paula Lizarraga Gutiérrez - 2017 - Cauriensia 12:491-512.
    En este artículo se plantea el nacimiento de la Estética moderna a partir de la tradición filosófica empirista y racionalista. Se analizan sus aportes al campo de la Estética como disciplinas filosóficas, sus aciertos y sus errores, y se plantea una solución intermedia para elevar esta disciplina al ámbito científico que pasaría por un fundamento realista moderado que articulara el conocimiento sensible.
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  39. Is Hume's Ideal Moral Judge a Woman?Getty L. Lustila - 2017 - Hume Studies 43 (2):79-102.
    Hume refers to women as imaginative, compassionate, conversable, and delicate. While his appraisals of women seem disparate, I argue that they reflect a position about the distinctive role that Hume takes women to have in shaping and enforcing moral norms. On his view, I maintain, women provide us with the ideal model of a moral judge. I claim that Hume sees a tight connection between moral competency and those traits he identifies as feminine. Making this case requires clarifying a few (...)
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  40. Hume's Narrow Circle Aesthetically Expanded.S. K. Wertz - 2017 - Journal of Aesthetic Education 51 (4):1-4.
    How does aesthetic education begin and expand over time? David Hume’s idea of the narrow circle provides us with an answer when considering this question. He uses the narrow circle to explain how moral practices evolve, and by analogy, we can also use this conception to explain how aesthetic practices evolve. So I will first of all begin with a discussion of his essay “The Standard of Taste.”1 In this essay, Hume gives an excellent profile of the critic who has (...)
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  41. Hume by Don Garrett. [REVIEW]John Bricke - 2016 - Journal of the History of Philosophy 54 (1):172-173.
    Don Garrett’s Hume constitutes a demanding introduction to the entirety of Hume’s philosophy as articulated in the Treatise, the two Enquiries, and the Dialogues Concerning Natural Religion. Its goal is to provide a clear representation of the problems Hume addresses, the solutions he provides to those problems, and the arguments he constructs in so doing. Achieving its three goals remarkably well, Garrett’s Hume provides what, in my judgment, is the very best introduction to Hume’s philosophy available. It will be an (...)
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  42. A Humean Approach to the Problem of Disgust and Aesthetic Appreciation.Eva M. Dadlez - 2016 - Essays in Philosophy 17 (1):55-67.
    Carolyn Korsmeyer has offered some compelling arguments for the role of disgust in aesthetic appreciation. In the course of this project, she considers and holds up for justifiable criticism the account of emotional conversion proposed by David Hume in “Of Tragedy”. I will consider variant interpretations of Humean conversion and pinpoint a proposal that may afford an explanation of the ways in which aesthetic absorption can depend on and be intensified by the emotion of disgust.
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  43. Sobre la imaginación y la fantasía en el pensamiento de Hume.Mario Edmundo Chávez Tortolero - 2016 - In Imaginación y conocimiento. De Descartes a Freud. México: Corinter/Gedisa. pp. 51-62.
  44. David Hume sobre los valores estéticos. Hacia una interpretación objetivista.Agustín Arrieta Urtizberea - 2016 - Agora 35 (1).
    Partiendo de la descripción subjetivista que Noël Carroll hace de las ideas estéticas de David Hume en On Criticism, propongo una interpretación objetivista de las mismas. Para ello, muestro que hay cierta confusión en la obra del filósofo escocés cuando vincula los valores estéticos con las cualidades secundarias lockeanas. Creemos que esa vinculación requiere de cierto esclarecimiento. Para ello me apoyo en distinciones ya clásicas propuestas por Kripke. A partir de ahí, muestro que Hume es más objetivista de lo que (...)
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  45. Educating Sentiment: Hume's Contribution to the Philosophy of the Curriculum Regarding the Teaching of Art.Dorit Barchana-Lorand - 2015 - Journal of Philosophy of Education 49 (1):107-128.
    From the perspective of art education, the worst-case philosophical scenario is the hedonist-subjectivist account of art. If we measure art by the pleasure we gain from it, it may seem senseless to attempt teaching the reception of art. David Hume's ‘Of the Standard of Taste’ provides an argument for the art-education enthusiast, explaining that—even on a subjectivist account—art education crystallises our own preferences. While I refer to a historical debate and provide a close reading of an 18th-century essay, my goal (...)
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  46. Re-Placing Hume. [REVIEW]Jon K. Burmeister - 2015 - Research in Phenomenology 45 (1):161-167.
  47. Shelley on Hume's Standard of Taste and the Impossibility of Sound Disagreement among the Ideal Critics.Víctor Durà-vilà - 2015 - Journal of Aesthetics and Art Criticism 73 (3):341-345.
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  48. Hume.Don Garrett - 2015 - New York: Routledge.
    Beginning with an overview of Hume's life and work, Don Garrett introduces in clear and accessible style the central aspects of Hume's thought. These include Hume's lifelong exploration of the human mind; his theories of inductive inference and causation; skepticism and personal identity; moral and political philosophy; aesthetics; and philosophy of religion. The final chapter considers the influence and legacy of Hume's thought today. Throughout, Garrett draws on and explains many of Hume's central works, including his Treatise of Human Nature (...)
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  49. When True Judges Differ: Reply to Durà‐Vilà.James Shelley - 2015 - Journal of Aesthetics and Art Criticism 73 (3):345-348.
    I defend my reading of Hume's "Of the Standard of Taste" against objections raised by Victor Durà‐Vilà. Two points are central to my defense. One is that Hume takes the joint verdict of true judges to indicate, rather than constitute, the standard of beauty. Two is that Hume requires a joint verdict because individual verdicts need not be expressive of human nature.
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  50. Hume on Art Critics, Wise Men, and the Virtues of Taste.Tina Baceski - 2014 - Hume Studies 39 (2):233-256.
    In this paper I compare two models of expert judgment: the art critic in Hume’s “Of the Standard of Taste” and the “wise man” in “Of Miracles.” The art critic is a true judge of beauty because he has made himself into a person who is optimally receptive to beauty. He possesses the virtues of taste: “Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice” (“Of the Standard of Taste,” 241). But the (...)
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