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The theory of beauty

Norwood, PA: Norwood Editions (1928)

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  1. Language, aesthetics and emotions in the work of the British idealists.Colin Tyler & James Connelly - 2018 - British Journal for the History of Philosophy 26 (4):643-659.
    ABSTRACTThis article surveys and contextualizes the British idealists’ philosophical writings on language, aesthetics and emotions, starting with T. H. Green and concluding with Michael Oakeshott. It highlights ways in which their philosophical insights have been wrongly overlooked by later writers. It explores R. L. Nettleship’s posthumous publications in this field and notes that they exerted significant influences on British idealists and closely related figures, such as Bernard Bosanquet and R. G. Collingwood. The writing of other figures are also explored, not (...)
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  • The Prometheus Challenge Redux.Arnold Cusmariu - 2017 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 4 (2):175-209.
    Following up on its predecessor in this Journal, the article defends philosophy as a guide to making and analyzing art; identifies Cubist solutions to the Prometheus Challenge, including a novel analysis of Picasso’s Les Demoiselles d’Avignon; defines a new concept of aesthetic attitude; proves the compatibility of Prometheus Challenge artworks with logic; and explains why Plato would have welcomed such artworks in his ideal state.
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  • Art as the Expression of Emotion in the Language of Imagination: Dickie's Misunderstandings of Collingwood's Aesthetics.José Juan González - 2011 - Art, Emotion and Value. Proceedings of the 5th Mediterranean Congress of Aesthetics. Cartagena (Spain), 4th-8th July 2011:175-184.
    It is a common statement in the most traditional views of the history of the philosophy of art to consider the nineteenth century as the moment of birth of the expressionist theory of art, a theory that ended pushing aside the already declining imitation theory of art. It is also usually understood that the expressionist theory defended that the essence of art was to express emotion, that the artist aim was to translate somehow emotions into artworks, and that these emotions (...)
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