Dissertationen zum Thema „Philosophy and aesthetics“
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Dugas, Alex T. „Beauty, Ever Ancient, Ever New: The Philosophy of Beauty of Plotinus and St. Augustine“. Athenaeum of Ohio / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=athe1526051732407169.
Der volle Inhalt der QuelleWarsop, David John. „Structure and aesthetic properties : an analysis of the notion of structure in aesthetics“. Thesis, University of Sheffield, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296764.
Der volle Inhalt der QuelleRowe, M. W. „Philosophy, psychology, criticism : A defence of traditional aesthetics“. Thesis, University of York, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377287.
Der volle Inhalt der QuelleRazumovskaya, Maria. „Heinrich Neuhaus : aesthetics and philosophy of an interpretation“. Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/355/.
Der volle Inhalt der QuelleSpoor, Iris P. „Defending Perceptual Objectivism: A Naturalistic Realist Analysis of Aesthetic Properties“. University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1511799160442784.
Der volle Inhalt der QuelleBailey, Rowan. „The philosophy of sculpture : the sculpture of philosophy : casting bodies of thought“. Thesis, University of Leeds, 2009. http://eprints.hud.ac.uk/16898/.
Der volle Inhalt der QuelleBrowne, Paul Leduc. „Lukacs's aesthetics and ontology, 1908-23“. Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339014.
Der volle Inhalt der QuelleGourova, Maria Andreevna. „The Aesthetic Idea and the Unity of Cognitive Faculties in Kant's Aesthetics“. Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/philosophy_theses/41.
Der volle Inhalt der QuelleVan, der Berg Servaas de V. „On depiction and expression : two essays in philosophical aesthetics“. Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5203.
Der volle Inhalt der QuelleENGLISH ABSTRACT: This thesis consists of two essays, each focussing on a current topic in aesthetics in the tradition of analytic philosophy. First paper (On depiction) Given broad consensus that resemblance theories do not do well at explaining depiction, two alternative approaches have dominated the literature in recent decades: (1) Perceptual accounts try to ground depiction in the phenomenology of our pictorial experiences; (2) Structural accounts understand pictures as symbols in pictorial symbol systems. I follow Dominic Lopes in granting that the two approaches, often interpreted as each other’s rivals, both have merit and are successful in answering divergent questions about depiction. After taking stock of the most influential theories from both approaches, I turn to John Kulvicki’s recent work. He has made surprising progress as a proponent of the structural approach. His attempt to define depiction in structural terms is groundbreaking and, for the most part, successful. The paper measures some of his suggestions on picture structure and perception against the well-established “twofoldness”-thesis of the perceptual theorist on depiction, Richard Wollheim. Wollheim’s theory is defended and suggestions made to adapt Kulvicki’s theory accordingly. Second paper (On expression) Since Frank Sibley’s early papers in the mid-twentieth century, analytic aesthetics has broadened its field of inquiry to extend past the traditional focus on judgements of beauty or aesthetic merit, to peripheral terms, concepts, properties and judgements (e.g. of grace, elegance, garishness, daintiness, dumpiness, etc.). Nick Zangwill gives a traditionalist report of what binds the new, broad and heterogeneous category of the aesthetic together. He argues that purely evaluative aesthetic judgements of beauty or ugliness (i.e. “verdicts”) are fundamental. All other aesthetic judgements derive their evaluative aesthetic nature from them. In this essay it is argued that Zangwill’s defence of beauty’s supremacy in the category of the aesthetic, does not do justice to ostensible instances of non-evaluative judgements that ascribe expressive properties to artworks. Nelson Goodman’s cognitivist theory of expression in art is used as a foil for Zangwill’s claims.
AFRIKAANSE OPSOMMING: Hierdie tesis bestaan uit twee essays, elk oor ’n aktuele onderwerp in estetika in die tradisie van die analitiese filosofie. Eerste essay (Oor uitbeelding, oftewel “piktoriale representasie”) Gegewe ’n algemene konsensus dat ooreenkoms-teorieë nie slaag daarin om uitbeelding (“depiction”) te verklaar nie, is daar twee alternatiewe benaderings wat die onlangse literatuur oor die onderwerp oorheers: (1) die perseptuele benadering probeer uitbeelding begrond in die fenomenologie van ons piktoriale ervaringe; (2) die strukturele benadering verstaan beelde as simbole in piktoriale simboolsisteme. In navolging van Dominic Lopes neem ek aan dat dié twee benaderings, wat normaalweg as mekaar se opponente beskou word, altwee meriete dra en onderskeidelik sukses behaal in die beantwoording van heel uiteenlopende vrae oor die aard van uitbeelding. Na ’n bestekopname van die mees invloedryke teorieë onder beide benaderings, word John Kulvicki se onlangse werk oorweeg. Hy maak verrassende vooruitgang as ondersteuner van die strukturele benadering. Sy poging om uitbeelding in strukturele terme te definiëer is revolusionêr en bied stof vir nadenke. In hierdie essay word sommige van sy voorstelle oor beeld-struktuur en -waarneming gemeet aan die gevestigde “twofoldness”-tesis van Richard Wollheim. Wollheim se perseptuele teorie word verdedig en ’n voorstelle word gemaak om Kulvicki se teorie daarvolgens aan te pas. Tweede essay (Oor uitdrukking) Sedert Frank Sibley se vroeë essays in die middel van die twintigste eeu het die analitiese estetika sy visier verbreed om verby die tradisionele fokus op oordele van skoonheid en estetiese waarde te kyk, na perifere terme, begrippe, eienskappe en oordele (van bv. grasie, delikaatheid, balans, strakheid, elegansie, ens., ens.). Nick Zangwill gee ’n tradisionalistiese verslag van wat die nuwe, breë en heterogene kategorie van die estetiese saambind. Hy argumenteer dat suiwer evaluerende oordele van skoonheid fundamenteel bly. Alle ander estetiese oordele se estetiese aard word daarvan afgelei. In hierdie essay argumenteer ek dat Zangwill se verdediging van skoonheid (of estetiese waarde) as fundamenteel tot die kategorie van die estetiese, nie laat reg geskied aan aantoonbare gevalle van nie-evaluerende oordele, naamlik dié wat ekspressiewe eienskappe aan kunswerke toeskryf, nie. Nelson Goodman se kognitiewe teorie van van uitdrukking in kuns word gebruik as teenhanger en wegspringplek vir kritiek op Zangwill se aansprake.
Šparada, Renata. „Internet as Aesthetic Medium“. Thesis, Uppsala universitet, Avdelningen för estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-452910.
Der volle Inhalt der QuelleMcMahon, Melissa Jane. „Deleuze and Kant's Critical Philosophy“. University of Sydney. School of Philosophical and Historical Inquiry (SOPHI), 2005. http://hdl.handle.net/2123/618.
Der volle Inhalt der QuelleMcMahon, Melissa Jane. „Deleuze and Kant's Critical Philosophy“. Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/618.
Der volle Inhalt der QuelleRoche, Jennifer Lynn. „Imagination in the Philosophy of Josiah Royce“. OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/1038.
Der volle Inhalt der QuelleJohnson, Carl Matthew. „Watsuji Tetsuro and The Subject of Aesthetics“. Thesis, University of Hawai'i at Manoa, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3569117.
Der volle Inhalt der QuelleA central question in aesthetics is whether aesthetic judgment is subjective or objective. Existing approaches to answering this question have been unsatisfying because they begin with the assumption of an individual observer that must then be communalized through the introduction of a transcendent object or the transcendental reason of the subject.
Rather than introduce a vertical transcendence to account for the ideal observer, I propose an alternative account based on the anthropology of the Japanese philosopher W
ATSUJI
Tetsurō. According to Watsuji, human existence is a movement of double negation whereby we negate our emptiness in order to individuate ourselves and we negate our individuality in order to form communal wholes. Human beings are empty of independent existence, and thus open to create ideal aesthetic subjects in historically and regionally situated communal contexts.I propose an account of aesthetic experience as a double negation in which we negate our surroundings in order to create a sense of psychical distance and negate our ordinary selves in order to dissolve into the background of primordial unity. I examine aesthetic normativity and find that the subject of aesthetics is active and plural rather than passive and individual. Aesthetic judgment and taste are, respectively, individual and communal moments in the process of double negation. Artistic evolution is a process by which the context of artist, artwork, and audience develop into a meaningful historical milieu. Genius is the ability to make public one’s private values through the creation of objects that can travel beyond their original contexts and create new contexts around them. Such an ability is the result of a double negation played out between the genius and critical receptivity.
Extended examples taken from Noh theater, Japanese linked verse, tea ceremony, and The Tale of Genji are also used to illustrate my arguments.
Johnston, Jennene Louise Hooper. „Angels of desire subtle subjects, aesthetics and ethics /“. View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050527.155421/index.html.
Der volle Inhalt der QuelleEvans, Robert A. „An Aesthetic Attitude: An East - West Comparison of Bullough and Nishida“. Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1274279326.
Der volle Inhalt der QuelleKovach, Vanya. „Judgement as play: revealing analogies between aesthetics and ethics“. Thesis, University of Auckland, 1993. http://hdl.handle.net/2292/2488.
Der volle Inhalt der QuelleAuyer, Jonathan P. „Illusion in the commonplace| Reinterpreting Ernst Gombrich's concept of illusion“. Thesis, State University of New York at Albany, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3565358.
Der volle Inhalt der QuelleIn the dissertation I analyze and interpret Ernst Gombrich's book Art and Illusion, focusing on his view that illusion is involved in pictorial representation. Since Gombrich never gave a concise, systematic account of illusion, my goal will be to fill this void by using the text of Art and Illusion as well as Gombrich's subsequent writings in order to present a coherent account of how illusion might play a role in a picture's representing an object.
My goal is not to present an unassailable account of pictorial representation. Instead, I offer a version of Gombrich's theory that pushes readers towards a better comprehension of what a Gombrichian theory of illusion involves. In the process I introduce and defend a number of terms and concepts in the service of filling in those places where Gombrich is silent. Among other things, in response to Gombrich's notion of visual substitution I elaborate upon the claims that representational pictures function as relational models and afford recognition of the objects they represent; I reply to Richard Wollheim's "twofoldness" objection to Gombrich; and I contend that Gombrich's use of the notion of illusion is not open to the objections commonly made against it (e.g., that normal picture perception does not involve illusion because "illusion" is synonymous with "delusion").
Wood, Andrew J. „Makers and Breakers| Pre-Raphaelites, Punks, and Political Imagination“. Thesis, University of California, Santa Cruz, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10829418.
Der volle Inhalt der QuelleWeaving together influences from philosophy, visual and sonic aesthetics, and radical political thought, this project argues that individual and collective imagination should be understood as important sites of politics—in cultural, discursive, institutional, and collectivist registers. Rather than proposing dogmatic adherence to any particular ideology, we find that imagining new possibilities, as well as the possibilities for more possibilities, is centrally important to the endeavor of seeking radical change in the contemporary capitalist/state system. By turning to the examples of two politico-aesthetic movements, the Handicraft movement of William Morris and the Hammersmith Socialist League of the 19th century and the 20th/21st century cultures of punk rock, we witness the successes and failures of attempts to intervene in political imaginaries. I focus on the anachronistic, non-capitalist mode of production of so-called ‘do-it-yourself’ (or D.I.Y.), I argue that such productive processes could represent such an inter-temporal rupture point of radical anachronism that I have theorized, and can therefore demonstrate the potentiality of wellsprings for the creation of new forms of politics, paradoxically contributing to the progress of inclusivity and egalitarian politics through the introduction of anachronistic performances, visuals, and music.
Specifically, they reveal the surprising ways in which inter-temporal rupture through anachronistic aesthetic forms and modes of productions can not only disrupt hegemonic notions of progressive linear time, but also question the radical imperative towards production of the new. These movements hence illuminate important implications for the tactics, tensions, and most of all thought—and preconditions for thought—that underpin contemporary progressive politics (e.g. Anti-globalization, Occupy, Black Lives Matter, revolutionaries in Rojava and especially, and most contentiously and controversially the contemporary Antifa movements) by demonstrating the radical potentialities of aesthetics, space, and anachronism for the introduction of historical rupture contained within politico-aesthetic shock. These movements are deeply concerned with democratic participation and social justice, and so we can use Morris and punk as a window in to deep analysis of tactics as utilized by the aforementioned anti-capitalist and anti-fascist movements.
Wesselinoff, Catherine. „Kaleidoscopes, or Two Kinds of Beauty:The Anti-Aesthetic and Beauty Revival Movements“. Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/28627.
Der volle Inhalt der QuelleAli, Zulfiqar. „Ethics as aesthetics : Michel Foucault's genealogy of ethics“. Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/35118/.
Der volle Inhalt der QuelleAloi, Michael Joseph. „Participation in the Play of Nature: A Hermeneutic Approach to Environmental Aesthetics“. Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752360/.
Der volle Inhalt der QuelleBracewell, Pamel Joyce. „Space, time and the artist : the philosophy and aesthetics of Wyndham Lewis“. Thesis, University of Sheffield, 1990. http://etheses.whiterose.ac.uk/3027/.
Der volle Inhalt der QuelleReynolds, Christine Sara. „Past presence : aesthetics and the creation of origin /“. Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/6783.
Der volle Inhalt der QuelleMckeown, Conor. „Videogame ecologies : interaction, aesthetics, affect“. Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/8878/.
Der volle Inhalt der QuelleHenry, Jon L. „Techniques of Sensual Perception: The Creation of Emotional Pathways“. Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2276/.
Der volle Inhalt der QuelleGao, Weining. „A STUDY OF HUTCHESON’S AND HUME’S THEORIES OF AESTHETIC TASTE“. Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1871.
Der volle Inhalt der QuelleMigan, Darla Senami. „The confessions of augustine's flesh| Counter-conducts overwhelming to pastoral power in Christian conversion“. Thesis, State University of New York at Stony Brook, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1553279.
Der volle Inhalt der QuelleIn his 1978 lectures at the College de France, Security Territory Population, Michel Foucault shifts his analysis of power by arguing for pastoral power as both the prelude to governmentality and as the decisive moment in the constitution of the Western subject. If the history of the Christian pastorate involves "the entire history of procedures of human individualization in the West (184)," then, Foucault argues, there has never been a revolt against pastoral power because such a revolt would be a revolt against the constitution of the self, that is to say against self-consciousness. If the revolt against pastoral power is a revolt against self-consciousness, then I argue that the psychagogic-spiritual, as opposed to rhetorical-theological, practices of religious conversion may be where counter-conducts (already understood to be subsumed within Christian pastoral power) may also overwhelm the Christian pastorate. In his conversion to Christianity Augustine employs techniques that are `overwhelming' to pastoral power, but are never actually an attempt to overcome pastoral power. In the specific experiences recalled by Augustine in his Confessions, through the various non-discrete phases of his conversion he takes up what Foucault calls counter-conducts. Through asceticism (especially in the author's struggle with conscupience); through the establishment of a new religious community (as a Manichean catechumen) through mysticism (in the doctrine of `inner illumination)'; through the exegesis of scripture (significantly in the voluntary reading of Romans 13:12-14 prior to becoming a catechumen of the Christian Church); and through eschatological belief (specifically in the a-millennial conception of the return of Christ), Augustine, author of the Confessions, emerges as a convert to Christianity. Towards Foucault's call for genealogies of pastoral power and towards the call of philosophy understood as ethico-poetic praxes of Eros captured in the phrase epimeleia heatou, this thesis will investigate Augustine of Hippo's conversion to Christianity as an enactment of Foucault's `counter-conducts.' I will argue, through exegesis of Augustine's Confessions, that this parrhesiatic document is simultaneously a narrative of psychagogic practices which reflects Augustine's profound ascesis towards Christian subjectivation as well as a document of the counter-conducts that overwhelm Christian pastoral power while never revolting against it. As a result of his pluralistic and deeply personal approach towards conversion, Augustine's recorded experiences exemplify how `new' technologies (or at least new modalities of old technologies) are established within the Christian pastorate. It is in and through the event of his conversion that Augustine also emerges as a leader of the orthodox Church and simultaneously as an instigator for later revolts against it--arguably, for example, as an inspiration for the leaders of the Protestant Reformation. If there can be no revolution against pastoral power because it is always instituting, circumscribing, and subsuming new forms of resistance on its own, then perhaps we can best understand where counter-conducts are most dangerous to the practices of power by understanding where some practices actually fail to resist power-effects, while simultaneously transforming power-relations.
Rampley, Matthew. „Dialectics of contingency : Nietzsche's philosophy of art“. Thesis, University of St Andrews, 1993. http://hdl.handle.net/10023/14775.
Der volle Inhalt der QuelleTanchio, Paul Albert. „Transcultural aesthetics and contemporary art“. Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10225.
Der volle Inhalt der QuelleCollins, Lorna Patricia. „Making sense : art and aesthetics in contemporary French thought“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610086.
Der volle Inhalt der QuelleJörnvi, Malin. „Visionary Philosophy“. Thesis, Uppsala universitet, Avdelningen för estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-429020.
Der volle Inhalt der QuelleRobertson, Casey. „Illuminating postmodern elements in the music of John Cage“. Thesis, California State University, Dominguez Hills, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10020172.
Der volle Inhalt der QuelleWhile the American composer John Cage is often classified as an influential figure in the realm of modernist music, the controversial nature of Cage's work has proven to be more far-reaching than many had initially contended. Through a process of re-examining the work of Cage through a postmodern lens, this thesis rejects the notion that Cage was confined to the realm of modernism, and demonstrates that the composer not only exhibited postmodern tendencies through his ideas and concepts, but also aesthetically in his compositions. By illuminating these postmodern compositional practices and postmodern-influenced belief systems expressed by Cage as an artist, a reinterpretation of the composer and his work is carried out, while also addressing criticisms leveled toward Cage as a postmodernist. Through this contemporary reanalysis, the thesis demonstrates that Cage was a composer that transcended genres and classifications to ultimately resonate as a viable figure of postmodern music.
Farinas, Rebecca Lee. „The Aesthetic Agency of Popular Culture in the Writings of Pierre Bourdieu and Arthur C. Danto“. OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/949.
Der volle Inhalt der QuelleSmethurst, Coryn Russell Ronald. „Towards a creative aesthetics : with reference to Bergson“. Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/104996/.
Der volle Inhalt der QuelleSimus, Jason Boaz. „Disturbing Nature's Beauty: Environmental Aesthetics in a New Ecological Paradigm“. Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11008/.
Der volle Inhalt der QuelleGershkovich, Tatyana. „Held Captive: Tolstoy, Nabokov, and the Aesthetics of Constraint“. Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493286.
Der volle Inhalt der QuelleSlavic Languages and Literatures
Sweeney, Mark Richard. „The aesthetics of videogame music“. Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.
Der volle Inhalt der QuelleGurciullo, Sebastian 1968. „Between art and philosophy : Adorno and Foucault as heirs and critics of Enlightenment“. Monash University, School of Literary, Visual and Cultural Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/7662.
Der volle Inhalt der QuelleKooy, Michael John. „Aesthetics and moral philosophy in the thought of Samuel Taylor Coleridge, 1808-1819“. Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319145.
Der volle Inhalt der QuelleHanson, Louise Mary. „Conceptual art : what is it?“ Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:1ce65d49-6864-4a29-8600-5c54e405ef5e.
Der volle Inhalt der QuelleOzdemir, Ibrahim Soner. „Grasping The Space Of The Heart/mind: Artistic Creation And Natural Beauty In The Later Philosophy Of Kitar“. Phd thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613515/index.pdf.
Der volle Inhalt der Quelleaesthetic form&rdquo
and its relation to the distinction between natural and artistic beauty, it is argued that the Japanese philosopher Kitar
Garlitz, Dustin Bradley. „Philosophy of new jazz : reconstructing Adorno“. [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002213.
Der volle Inhalt der QuellePitkin, Carissa. „Against Expression?: Avant-garde Aesthetics in Satie's "Parade"“. University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.
Der volle Inhalt der Quelle高舒 und Shu Phyllis Kao. „Affective gesture in J.S. Bach's keyboard music with special referenceto selected works in D minor“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31213145.
Der volle Inhalt der QuelleMoore, Gregory. „Art and action : exploring postmodern aesthetics“. Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1456.
Der volle Inhalt der QuelleBachelors
Sciences
Political Science
Thompson, Seth Aaron. „Art Unfettered: Bergson and a Fluid Conception of Art“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248388/.
Der volle Inhalt der QuelleO'Brien, Marianne. „Aesthetics and ethics at the intersection: Contemporary reflections on the philosophy of Arthur Schopenhauer“. Thesis, University of Liverpool, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494273.
Der volle Inhalt der QuelleWong, Ching-ping. „The manifestation of Chinese philosophy and aesthetics in the performance of the pipa music“. Thesis, Kingston University, 1989. http://eprints.kingston.ac.uk/20532/.
Der volle Inhalt der QuelleFernández, Celso Ignacio. „The distinction between philosophy of art and aesthetics in the thought of Étienne Gilson“. Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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