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Books on the topic 'Aesthetic judgements'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Caygill, Howard. Art of judgement. Oxford, UK: B. Blackwell, 1989.

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2

Sentimiento y reflexión en la filosofía de Kant: Estudio histórico sobre el problema estético. Hildesheim: Olms, 2010.

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3

Jones, Nicholas. Context and value: Art history and aesthetic judgement. [s.l.]: typescript, 1997.

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4

The sublime in Kant and Beckett: Aesthetic judgement, ethics and literature. Berlin: W. de Gruyter, 2002.

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5

Burnham, Douglas. An introduction to Kant's Critique of judgement. Edinburgh: Edinburgh University Press, 2000.

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6

Kant, Immanuel. Critique of judgement. Mineola, N.Y: Dover Publications, 2005.

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7

David, Summers. The judgement of sense: Renaissance naturalism and the rise of aesthetics. Cambridge: Cambridge University Press, 1987.

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8

Latin poetry and the judgement of taste: An essay in aesthetics. Oxford: Oxford University Press, 2005.

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9

Kant, Immanuel. The critique of judgement. Oxford: Clarendon Press, 1989.

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10

Kant's philosophies of judgement. Edinburgh: Edinburgh University Press, 2004.

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11

Bourdieu, Pierre. Distinction: A social critique of the judgement of taste. Cambridge, Mass: Harvard University Press, 2000.

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12

Cole, Elizabeth Smith. The effect of a cognitively oriented aesthetic curriculum on the aesthetic judgement and response of four, sixand eight year olds enrolled in an art museum program. Ann Arbor, MI: University Microfilms International, 1986.

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13

Kant, Immanuel. The critique of pure reason ; The critique of practical reason, and other ethical treatises ; The critique of judgement. 2nd ed. Chicago: Encyclopædia Britannica, Inc., 1990.

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14

Kant, Immanuel. Kritik der Urteilskraft. 7th ed. Hamburg: Felix Meiner Verlag, 1990.

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15

Kant, Immanuel. Critique of judgment. Indianapolis, Ind: Hackett Pub. Co., 1987.

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16

Kant, Immanuel. Kritik der Urteilskraft. Hamburg: F. Meiner, 2001.

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17

Giordanetti, Piero, Immanuel Kant, and Heiner F. Klemme. Kritik der Urteilskraft: Hrsg. von H.F. Klemme mit Sachanmerkungen von Piero Giordanetti. Hamburg: Felix Meiner Verlag, 2006.

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18

Kant, Immanuel. Critique de la faculté de juger. Paris: J. Vrin, 1993.

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19

Kant, Immanuel. Kangde pan duan li zhi pi pan. Taibei Shi: Taiwan xue sheng shu ju, 1992.

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20

Kant, Immanuel. Critique of the power of judgment. Cambridge, UK: Cambridge University Press, 2000.

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21

Kant, Immanuel. Critique of the power of judgment. Cambridge, UK: Cambridge University Press, 2001.

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22

Kant, Immanuel. Critik der Urtheilskraft. London: Routledge/Thoemmes Press, 1994.

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23

Kant, Immanuel. Kritik der Urteilskraft: Beilage: Erste Einleitung in die Kritik der Urteilskraft. 2nd ed. Hamburg: F. Meiner, 2006.

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24

Kant, Immanuel. Critik der Urtheilskraft. London: Routledge/Thoemmes Press, 1994.

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25

Kant, Immanuel. The critique of judgment. Amherst, N.Y: Prometheus Books, 2000.

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26

Semantics of Aesthetic Judgements. Oxford Univ Pr, 2017.

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27

Young, James O., ed. The Semantics of Aesthetic Judgements. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198714590.001.0001.

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28

Robson, Jon. Against Aesthetic Exceptionalism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198805403.003.0012.

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This chapter discusses a position it terms ‘belief pessimism concerning aesthetic testimony’ (BP). According to BP (i) judgements of aesthetic value are beliefs and (ii) aesthetic judgements are subject to some additional norm not active with respect to judgements concerning more mundane matters which (inter alia) prevents such judgements from legitimately being formed on the basis of testimony. The chapter argues that BP should be rejected since it faces a number of pressing objections relating to the nature of belief. First, it proposes a fundamental difference between aesthetic beliefs and beliefs of other kinds without properly motivating this distinction. Secondly, BP is in tension with any plausible account of the nature of belief. The chapter concludes, then, that at least one of (i) or (ii) should be rejected.

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29

Bergqvist, Anna, and Robert Cowan, eds. Evaluative Perception. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786054.001.0001.

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Evaluation is ubiquitous. Indeed, it isn't an exaggeration to say that we assess actions, character, events, and objects as good, cruel, beautiful, etc., almost every day of our lives. Although evaluative judgement—for instance, judging that an institution is unjust—is usually regarded as the paradigm of evaluation, it has been thought by some philosophers that a distinctive and significant kind of evaluation is perceptual. For example, in aesthetics, some have claimed that adequate aesthetic judgement must be grounded in the appreciator's first-hand perceptual experience of the item judged. In ethics, reference to the existence and importance of something like ethical perception is found in a number of traditions, for example, in Virtue Ethics and Sentimentalism. This volume brings together philosophers in aesthetics, epistemology, ethics, philosophy of mind, and value theory, to contribute in novel ways to debates about what we call Evaluative Perception. Specifically, they engage with (1) Questions regarding the Existence and Nature of Evaluative Perception: Are there perceptual experiences of values? If so, what is their nature? Are perceptual experiences of values sui generis? Are values necessary for certain kinds of perceptual experience? (2) Questions about Epistemology: Can evaluative perceptual experiences ever justify evaluative judgements? Are perceptual experiences of values necessary for certain kinds of justified evaluative judgements? (3) Questions about Value Theory: Is the existence of evaluative perceptual experience supported or undermined by particular views in value theory? Are particular views in value theory supported or undermined by the existence of evaluative perceptual experience?

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30

Kahn, Sholom J. Science and Aesthetic Judgement. Routledge, 2016. http://dx.doi.org/10.4324/9781315617619.

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31

Hughes, Fiona. Kant’s Critique of Aesthetic Judgement. Continuum International Publishing Group, 2010. http://dx.doi.org/10.5040/9781350252875.

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32

Kallendorf, Craig. Successes and Failures in Virgilian Translation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810810.003.0002.

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This chapter’s discussion of premodern Virgilian translations, those that predate 1850, provides an important historical background to the different directions of Virgilian translations in Europe and beyond. While Kallendorf avoids offering aesthetic judgements on any of these translations, the statistics provided in this chapter shed light on the role that Virgilian translations played in their respective cultures. The most noteworthy part of this study, however, is that Kallendorf brings back from obscurity such translations as those of Perrin and Le Plat, Delille and Cynyngham, Marot and Gresset, emphasizing that, regardless of their aesthetic quality, translations can never be ranked only in terms of failure or success, because each one has elements of both and each one contributes to future attempts.

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33

Kant, Immanuel. The Critique of Judgement: The Critique of Aesthetic Judgement. Digireads.com, 2006.

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34

Eldridge, Richard. Aesthetics and Ethics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0043.

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To the extent that these neo-Aristotelian value realisms offer multi-dimensional accounts of the good and very flexible appreciations of different virtues (of both character and art) in different contexts, they account well for the varieties of characters, actions, and works of art that we value. But it is not always easy to see exactly how the particularism fits with the objectivism. When there is that much variety in judgements of value, often indexed to local cultural or historical circumstance, then, even if it need not be true, the thought that such judgements are mere expressions of individual or social preference looms. When, in contrast, the overall theory of the good or the beautiful is given more shape and content, so that common features of beauty or goodness in different particulars are discernible, then the particularism lapses.

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35

McFee, Graham. Artistic Judgement: A Framework for Philosophical Aesthetics. Springer, 2013.

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36

Artistic Judgement A Framework For Philosophical Aesthetics. Springer, 2011.

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37

Iseminger, Gary. Aesthetic Experience. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0005.

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This article surveys attempts by aestheticians writing in the Anglo-American analytic tradition during the last half of the twentieth century to clarify, defend, and use the idea of a distinctively aesthetic state of mind. Their ambitions typically include most or all of the following: giving an account of what distinguishes the aesthetic state of mind from other states of mind that are like it in some ways, such as sensual pleasure or drug-induced experience, or from those connected with other realms of human concern, such as the religious, the cognitive, the practical, and the moral; giving that account in a way that appeals neither to any prior idea of the aesthetic nor to the concept of art; explaining related ideas of the distinctively aesthetic, e.g. the ideas of aesthetic properties, qualities, aspects, or concepts, of the aesthetic object, of the aesthetic judgement, and of aesthetic value, in terms of the idea of the distinctively aesthetic state of mind; and defending some more or less close connection between the realm of the aesthetic thereby explained and the realm of art, while recognizing that the aesthetic state of mind may appropriately be directed towards or grounded in non-art (e.g. nature) as well.

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38

Critique Of Judgement. Oxford University Press, USA, 2009.

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39

Kahn, Sholom J. Science and Aesthetic Judgement: A Study in Taine's Critical Method. Taylor & Francis Group, 2017.

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40

Science and Aesthetic Judgement: A Study in Taine's Critical Method. Taylor & Francis Group, 2016.

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41

Distinction A Social Critique Of The Judgement Of Taste. Routledge, 2010.

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42

Latin Poetry and the Judgement of Taste: An Essay in Aesthetics. Oxford University Press, USA, 2007.

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43

(Editor), John M. Sloop, and James P. McDaniel (Editor), eds. Judgement Call: Rhetoric, Politics, and Indeterminacy (Polemics). Westview Press, 1998.

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44

Burnham, Douglas. Kant's Philosophies of Judgement. Edinburgh University Press, 2005.

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45

Wicks, Robert. Routledge Philosophy GuideBook to Kant on Judgement (Routledge Philosophy Guidebooks). Routledge, 2007.

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46

Routledge Philosophy GuideBook to Kant on Judgement (Routledge Philosophy Guidebooks). Routledge, 2007.

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47

Myskja, Bjorn K. The Sublime in Kant and Beckett: Aesthetic Judgement, Ethics and Literature (Kantstudien-Erganzungshete). Walter De Gruyter Inc, 2001.

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48

Stecker, Robert. Value in Art. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0017.

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Questions about artistic value are not nicely uniform or all raised at the same level of inquiry. In this article they are divided up into three groups of issues: meta-aesthetic, ontological, and normative. The first of these concern the nature of a judgement of artistic value. The second concerns the nature of such value itself. The last concerns the core question of what is artistically valuable about art, and how one brings the various valuable features of a work to bear in arriving at an evaluation of the work. Though these are different questions, there are not sharp boundaries between them. The article begins with the latter two issues, saving meta-aesthetics for last.

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49

Ginsborg, Hannah. Normativity of Nature: Essays on Kant's Critique of Judgement. Oxford University Press, 2014.

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50

Garratt, Peter. Victorian Literary Aesthetics and Mental Pathology. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474400046.003.0024.

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In WHAT GOOD ARE THE ARTS? (2005), a polemic aimed at shredding many longstanding conceptions of art and aesthetic judgement, the literary critic John Carey briefly discusses a bibliotherapy project established over a decade earlier in West Yorkshire by John Duffy. This was a project in which patients with depression, stress and anxiety disorders were given the opportunity to participate in reading groups, book advice surgeries and other literacy activities, having been referred to the service by mental health practitioners – an alternative to the anti-depressant medication commonly prescribed to such patients by GPs. The service users in question were ‘helped by art’, in Carey’s words, not treated by pharmacological means. The initiative demonstrated the potential therapeutic benefits of reading books, while seeming to dismantle the languid association of art with uselessness or transcendence, as distilled in W. H. Auden’s phrase, ‘poetry makes nothing happen.’ For Carey, bibliotherapy programmes like this one could not help also rubbing up against established notions of literary value, in turn reviving old questions over the nature and ends of art generally.

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