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Aesthetic Realism 2

In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 80-98 (2003)

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  1. Aesthetic properties.Sonia Sedivy - 2024 - In A. R. J. Fisher & Anna-Sofia Maurin (eds.), The Routledge Handbook of Properties. London: Routledge.
    Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative thought. Historicism about (...)
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  • Aesthetic Realism and Manifest Properties.Andrea Sauchelli - 2022 - Journal of Aesthetics and Art Criticism 80 (2):201-213.
    This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.
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  • Fitting Attitude Theory and the Normativity of Jokes.Stephanie Patridge & Andrew Jordan - 2018 - Erkenntnis 83 (6):1303-1320.
    We defend a fitting-attitude theory of the funny against a set of potential objections. Ultimately, we endorse a version of FA theory that treats reasons for amusement as non-compelling, metaphysically non-conditional, and alterable by social features of the joke telling context. We find that this version of FA theory is well-suited to accommodate our ordinary practices of telling and being amused by jokes, and helpfully bears on the related faultless disagreement dispute.
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  • Artistic Value is Attributive Goodness.Louise Hanson - 2017 - Journal of Aesthetics and Art Criticism 75 (4):415-427.
    It is common to distinguish between attributive and predicative goodness. There are good reasons to think that artistic value is a kind of attributive goodness. Surprisingly, however, much debate in philosophical aesthetics has proceeded as though artistic value is a kind of predicative goodness. As I shall argue, recognising that artistic value is attributive goodness has important consequences for a number of debates in aesthetics.
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  • Peter Lamarque’s aesthetic essentialism.Mona Roxana Shields - 2017 - Dissertation, University of Reading
    This thesis argues that the aesthetic character of some conceptual works of art can be determined by the possession of essential aesthetic properties. By discussing Peter Lamarque’s account of individual aesthetic essentialism one can suggest that conceptual works can be aesthetically investigated. Chapter I introduces the concept of the aesthetic and discusses Frank Sibley’s account of aesthetic concepts. Chapter II analyses in detail Sibley’s two fold relational character of aesthetic properties. Chapter III introduces Lamarque’s concept of aesthetic properties and it (...)
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  • Inference and action: relating beliefs to the world.Javier Gonzalez De Prado Salas - unknown
    The goal of this dissertation is to offer a practice-based account of intentionality. My aim is to examine what sort of practices agents have to engage in so as to count as talking and thinking about the way the world is – that is, what sort of practices count as representational. Representational practices answer to the way the world is: what is correct within such practices depends on the way things are, rather than on the attitudes of agents. An account (...)
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