Dissertationen zum Thema „Philosphy 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 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 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 QuelleŠparada, 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 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 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 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 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
Bailey, 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 QuelleLetton, Shoko Yamahata. „Eiko and Koma dance philosophy and aesthetic /“. Tallahassee, Florida : Florida State University, 2009. http://etd.lib.fsu.edu/theses/available/etd-05062009-160941/.
Der volle Inhalt der QuelleAdvisor: Sally R. Sommer, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Dance. Title and description from dissertation home page (viewed on Oct. 22, 2009). Document formatted into pages; contains viii, 137 pages. Includes bibliographical references.
MacKinnon, John Edward. „Aesthetic and non-aesthetic : a study in critical epistemology“. Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296708.
Der volle Inhalt der QuelleSchellekens, Anna Elisabeth. „A reasonable objectivism for aesthetic judgments : towards an aesthetic psychology“. Thesis, King's College London (University of London), 2003. http://sas-space.sas.ac.uk/1056/.
Der volle Inhalt der QuelleWraight, Christopher David. „On aesthetic judgement“. Thesis, University of Birmingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289260.
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 QuelleNzegwu, Nkiru. „Encounters in aesthetic appreciation“. Thesis, University of Ottawa (Canada), 1989. http://hdl.handle.net/10393/5553.
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 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.
Roche, Jennifer Lynn. „Imagination in the Philosophy of Josiah Royce“. OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/1038.
Der volle Inhalt der QuelleDixon, Martin J. C. „Composition as praxis : on Adorno's philosophy of aesthetic production“. Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/272180.
Der volle Inhalt der QuelleGasperik, Dylan. „Balancing sustainable development philosophy of technology and aesthetic evaluation /“. Diss., Connect to the thesis, 2009. http://hdl.handle.net/10066/3728.
Der volle Inhalt der QuelleFisher, Linda. „The aesthetic origins of Hegel's dialectic“. Thesis, University of Ottawa (Canada), 1985. http://hdl.handle.net/10393/4937.
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 QuelleMcAllister, James William. „The aesthetic evaluation of scientific theories“. Thesis, University of Cambridge, 1989. https://www.repository.cam.ac.uk/handle/1810/270424.
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 QuelleBartlett, Mark. „Chronotopology and the scientific-aesthetic in philosophy, literature and art /“. Diss., Digital Dissertations Database. Restricted to UC campuses, 2005. http://uclibs.org/PID/11984.
Der volle Inhalt der QuelleSharma, Shital. „Restoring Ānanda : philosophy, aesthetic, experience, and ritual in Puṣṭimārga Vaiṣṇavism“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99603.
Der volle Inhalt der QuelleCapdevila, Werning Remei. „Construing reconstruction : the Barcelona Pavilion and Nelson Goodman's aesthetic philosophy“. Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39307.
Der volle Inhalt der QuelleIncludes bibliographical references (p. 86-93).
This thesis explores Mies van der Rohe's Barcelona Pavilion through the lens of Nelson Goodman's philosophical categories of the autographic and the allographic in order to determine what constitutes the building's identity. The Pavilion was originally designed as a temporary structure for the 1929 International Exposition in Barcelona and rebuilt in 1986 as a permanent building. The reconstruction of this iconic building provokes a complex questioning about the identity of the Barcelona Pavilion in particular and of any architectural work in general. Goodman's notions are unique criteria to deal with issues of identity and authenticity in architecture. The autographic identifies a category of works that cannot be replicated, i.e., every difference between a work and even its closest copy makes a difference to the work's identity. In contrast, the allographic identifies a category of works that can be replicated, i.e., the difference between an original and its duplication is irrelevant to the work's identity. By examining the Barcelona Pavilion through the lens of these notions, this thesis shows that Mies's building is a hybrid case in which the autographic and the allographic criteria are inextricably linked.
(cont.) To consider the 1986 Pavilion simply as a copy does not completely define its identity status; conversely, to conclude that they are two instances of the same work or that they are two different buildings is not accurate, either. This case illustrates the complexity that arises when trying to establish what constitutes the identity of an architectural work in general and, at the same time, allows us to reconsider Goodman's statements regarding architecture.
by Remei Capdevila Werning.
S.M.
Bracewell, 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 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 QuelleMckeown, Conor. „Videogame ecologies : interaction, aesthetics, affect“. Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/8878/.
Der volle Inhalt der QuelleRampley, 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 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 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 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 QuelleTanchio, Paul Albert. „Transcultural aesthetics and contemporary art“. Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10225.
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 QuelleBahar, Saba. „Mary Wollstonecraft's social and aesthetic philosophy : "an Eve to please me" /“. Basingstoke [etc.] : Palgrave, 2002. http://www.loc.gov/catdir/toc/fy02/2001054887.html.
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 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 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 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 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 QuelleHan, Gül Bilge. „“Distantly a part”: Wallace Stevens and the Poetics of Modernist Autonomy“. Doctoral thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-119700.
Der volle Inhalt der QuelleSweeney, Mark Richard. „The aesthetics of videogame music“. Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.
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