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  1. “All history is the history of thought”: competing British idealist historiographies.Colin Tyler - 2020 - British Journal for the History of Philosophy 28 (3):573-593.
    Along with utilitarianism, British idealism was the most important philosophical and practical movement in Britain and its Empire during the late-nineteenth and early-twentieth centuries. Even though the British idealists have regained some of their standing in the history of philosophy, their own historical theories still fail to receive the deserved scholarly attention. This article helps to fill that major gap in the literature. Understanding historiography as concerning the appropriate modes of enquiring into the recorded past, this article analyses the key (...)
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  • Dewey's art as experience : The psychological background.Richard Shusterman - 2010 - Journal of Aesthetic Education 44 (1):pp. 26-43.
    In lieu of an abstract, here is a brief excerpt of the content:Dewey's Art as ExperienceThe Psychological BackgroundRichard Shusterman (bio)IThe year 2009 marks the 150th anniversary of John Dewey's birth and also the 75th anniversary of the publication of his aesthetic masterpiece Art as Experience—a book that has been extremely influential within the field of aesthetics, not only in philosophical aesthetics and aesthetic education but also in the arts themselves.1 I am honored to commemorate this double Deweyan anniversary with an (...)
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  • From the depths of rhetoric: The emergence of aesthetics as a discipline.John Poulakos - 2007 - Philosophy and Rhetoric 40 (4):335 - 352.
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  • Commentary: But Is It really Art? The Classification of Images as “Art”/“Not Art” and Correlation with Appraisal and Viewer Interpersonal Differences.Marcos Nadal, Víctor Gallardo & Gisèle Marty - 2018 - Frontiers in Psychology 8.
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  • From the bankruptcy of relations to the reality of connections: language and semantics in Bradley and Bosanquet.Guillaume Lejeune - 2018 - British Journal for the History of Philosophy 26 (4):700-718.
    . From the bankruptcy of relations to the reality of connections: language and semantics in Bradley and Bosanquet. British Journal for the History of Philosophy: Vol. 26, Special Issue: British Idealism: Language, Aesthetics and Emotions. Guest Editors: Colin Tyler and James Connelly, pp. 700-718.
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  • Bosanquet, Collingwood et l’esthétique idéaliste britannique.Chinatsu Kobayashi - 2009 - Philosophiques 36 (1):149-182.
    Après un bref survol de l’esthétique britannique au xxe siècle, les objections de Wollheim à la théorie « idéelle » de l’art, qu’il attribue à Croce et à Collingwood, sont présentées. Dans une deuxième partie, les critiques de Bosanquet à l’endroit de la théorie de Croce sont examinées, pour en conclure qu’on ne peut pas lui attribuer la théorie « idéelle ». Il en va de même pour Collingwood, dont les grandes lignes de son esthétique sont présentées dans la troisième (...)
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  • Ugliness Is in the Gut of the Beholder.Ryan P. Doran - 2022 - Ergo: An Open Access Journal of Philosophy 9 (5):88-146.
    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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  • 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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