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Journal articles on the topic 'Philosophy of aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.

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  This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.  

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2

Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (May 23, 2017): 110–30. http://dx.doi.org/10.1163/1477285x-12341281.

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I reconstruct the aestheticism of Martin Buber in order to provide a new way of framing his moral philosophy and development as a thinker. The evolution of Buber’s thought does not entail a shift from aesthetics to ethics, but a shift from one aspect of aesthetics to another, namely, from taking genius to be key to social renewal, to taking taste to be key. I draw on Kantian aesthetics to show the connection between Buber’s aesthetic concerns and his moral concerns, and to defend the notion that a certain aesthetic orientation may be just what is needed for moral response.

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3

Pattison, George. "KIERKEGAARD: AESTHETICS AND ‘THE AESTHETIC’." British Journal of Aesthetics 31, no. 2 (1991): 140–51. http://dx.doi.org/10.1093/bjaesthetics/31.2.140.

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4

Wilkoszewska, Krystyna. "Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.

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In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.

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5

Kreft, Lev. "How to defend aesthetics?" SAJ - Serbian Architectural Journal 7, no. 2 (2015): 27–36. http://dx.doi.org/10.5937/saj1501027k.

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Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist "overcoming" (Aufhebung) of aesthetics and of aesthetics' self-criticism expressed as the "crisis of aesthetics". To oppose both of these critical positions and at the same time reform aesthetics' ability to treat all aesthetic phenomena, but still keep art in special focus, he introduced the problem of immediacy of experience of the world by a human being. In his article "The Problem of Immediacy and Mediation in Marx's Thought" (1970) Damnjanović wanted to demonstrate the primacy of aesthetic dimension in immediacy and immediate mediation/reflection which can support philosophy's legitimate claim to organize it as an open system, and aesthetics' solidity as a discipline of such system. To achieve this purpose, he introduced an intertwined argumentation which combines his reading of Marx's philosophy of labour from Paris Manuscripts and from Capital with Helmut Plessner's esthesiology and Paul Valery's esthésique. To revisit Damnjanović's defence of the Whole, of philosophical systematicity, and of aesthetics' autonomous position as a discipline is an opportunity to argue that he pointed into the right direction, be it in taking Plessner and Valéry for support, or, in taking fundamental philosophical problem of immediacy/mediation as a foundation stone of the status of aesthetics.

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Ajíbóyè, Olusegun, Stephen Fọlárànmí, and Nanashaitu Umoru-Ọkẹ. "Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy." Mediterranean Journal of Social Sciences 9, no. 4 (July 1, 2018): 59–70. http://dx.doi.org/10.2478/mjss-2018-0115.

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Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.

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7

Lelièvre, Samuel. "La philosophie ricœurienne de l’esthétique entre poétique et éthique." Études Ricoeuriennes / Ricoeur Studies 7, no. 2 (February 1, 2017): 43–73. http://dx.doi.org/10.5195/errs.2016.374.

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Ricœur’s philosophy never locates itself directly in the field of philosophical aesthetics inasmuch as philosophical aesthetics never arises as a field of major questioning and discursive development for Ricœur’s philosophy or as a field that would guide that philosophy. However, Ricœur maintains an ongoing but complex connection with aesthetics throughout his philosophical work. Here we defend the thesis that there are difficulties relating both to the complexity of Ricœur’s philosophy and to the crisis situation of aesthetics as an autonomous field of philosophical inquiry. A more direct confrontation with philosophical aesthetics, such as that developed by analytic philosophy and critical theory today, is necessary in order to be aware of this connection between Ricœur’s philosophy and aesthetics. It then appears that if Ricœur’s philosophy makes it possible to maintain a certain autonomy of the field of aesthetics inherited from Kant, it is not through developing some unlikely “Ricœurian aesthetic” but thanks to a Ricœurian philosophy of aesthetics essentially determined on three levels: 1) the connection between poetics and aesthetics within a philosophy of imagination, 2) the connection between criticism and hermeneutics with regard the notions of text and distanciation, 3) the connection between ontology and communication that summarizes the two previous steps by combining phenomenological, analytic and critical perspectives. Thus it can be assumed that this autonomy of the field of aesthetics is possible only at a horizon of meaning determined by Ricœur’s philosophical anthropology: at the axiological level, the field of aesthetics differs upstream from the field of poetics and downstream from the field of ethics; at the ontological level, Ricœur’s philosophy of aesthetics concerns a region that is both intermediate between and congruent to those treated by Ricœur’s philosophy of imagination and by Ricœur’s philosophy of action.

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8

Wilson, Alan T. "The Virtue of Aesthetic Courage." British Journal of Aesthetics 60, no. 4 (August 1, 2020): 455–69. http://dx.doi.org/10.1093/aesthj/ayaa022.

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Abstract Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing an account of the nature of this trait, I also argue that aesthetic courage is vital for any sort of aesthetically virtuous life. It is not possible to possess any aesthetic virtue without possessing aesthetic courage. It is important, therefore, for any future development of virtue aesthetics to acknowledge the central importance of aesthetic courage.

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9

Wiesing, Lambert. "Phänomenologische und experimentelle Ästhetik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 2 (2012): 68–82. http://dx.doi.org/10.28937/1000107594.

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Der Artikel versucht drei Thesen zu verteidigen: Erstens die Ansicht, dass man zwar philosophische und empirische Ästhetiken klar unterscheiden und auch gegenüberstellen kann, dass der Begriff der experimentellen Ästhetik aber keineswegs nur für Ästhetiken reserviert werden sollte, welche außerhalb der Philosophie zu finden sind. Denn insbesondere bei phänomenologischen Ästhetiken, so die zweite These, lässt sich in einem bestimmten Sinne auch von einer experimentellen Ästhetik sprechen – nämlich genau dann, wenn mit der Methode der Eidetischen Variation gearbeitet wird, und insofern sich diese Methode als eine Form von mentalem Selbstexperiment verstehen lässt. Da diese Methode aber nun nicht nur innerhalb der phänomenologischen Philosophie verwendet wird, soll drittens die Ansicht verteidigt werden, dass es in der Philosophie insgesamt eine lange Tradition experimenteller Ästhetiken gibt und zum Beispiel die Transzendentale Ästhetik Kants geradezu ein Musterbeispiel einer solchen ist, da sie ihre Erkenntnisansprüche weder induktiv noch deduktiv, sondern mittels des Experiments einer Eidetischen Variation begründet.<br><br>The article tries to defend three theses: First the opinion that in fact philosophical and empirical aesthetics can be clearly distinguished and as well juxtaposed, but the term experimental aesthetics should not only be reserved for aesthetics, which can be found outside of philosophy. Because notably phenomenological aesthetics, so the second thesis, are in a certain way experimental aesthetics – namely if and only if the method of Eidetic Variation is used and insofar this method can be understood as a form of a mental self-experiment. Since this method is not only used in phenomenological philosophy, thirdly the opinion should be defended that there is a long tradition of experimental aesthetics in philosophy taken as a whole and e.g. Kant’s transcendental aesthetic is an epitome of such kind, because it bases its claim for knowledge neither inductively nor deductively, but using the experiment of an Eidetic Variation.

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10

Erjavec, Aleš. "Art and aesthetics: Three recent perspectives." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 142–59. http://dx.doi.org/10.5937/saj1202142e.

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The author sketches the development of the relationship between art and aesthetics in the recent past. As his starting point, he takes the position that artists established in the sixties in relation to philosophical aesthetics. In his view 1980 represented a historical threshold as concerns transformations both in art and its philosophy. He then discusses three theories of art and aesthetics - Nicolas Bourriaud's "relational aesthetics" from the nineties, Jacques Rancière's aesthetic project from the following decade, and the very recent "theory of contemporary art" developed by Terry Smith. In author's opinion, these three aesthetic or art theories not only disprove the pervasive opinion that contemporary aesthetics understood as philosophy of art is once more separated from contemporary art and the art world, but also manifest their factual import and impact in contemporary discussions on art.

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11

Wilson, R. "Aesthetics and its Discontents * The Aesthetic Unconscious." British Journal of Aesthetics 51, no. 1 (April 25, 2010): 103–5. http://dx.doi.org/10.1093/aesthj/ayq015.

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12

Wood, Robert E. "Philosophy, Aesthetics, and Theology." American Catholic Philosophical Quarterly 67, no. 3 (1993): 355–82. http://dx.doi.org/10.5840/acpq199367318.

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13

Cova, Florian, Amanda Garcia, and Shen-yi Liao. "Experimental Philosophy of Aesthetics." Philosophy Compass 10, no. 12 (December 2015): 927–39. http://dx.doi.org/10.1111/phc3.12271.

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Vuksanović, Divna. "Aesthetics and media philosophy." Kultura, no. 161 (2018): 389–98. http://dx.doi.org/10.5937/kultura1861389v.

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15

Saito, Yuriko. "Everyday aesthetics and world-making." Contrastes. Revista Internacional de Filosofía 25, no. 3 (January 19, 2021): 35–54. http://dx.doi.org/10.24310/contrastescontrastes.v25i3.11567.

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The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations have serious consequences which determine the quality of life and the state of the world, for better or worse. This power of the aesthetic should be harnessed to direct our cumulative and collective enterprise toward better world-making. Against objections to introducing a normative dimension to everyday aesthetics, I argue for the necessity of doing so and draw an analogy between everyday aesthetics and art-centered aesthetics which has dominated modern Western aesthetics discourse.

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PŁOTKA, WITOLD. "BEYOND ONTOLOGY: ON BLAUSTEIN’S RECONSIDERATION OF INGARDEN’S AESTHETICS." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, no. 2 (2020): 552–78. http://dx.doi.org/10.21638/2226-5260-2020-9-2-552-578.

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The article addresses the popular reading of Ingarden that his aesthetic theory is determined by ontology. This reading seems to suggest that, firstly, aesthetics lacks its autonomy, and, secondly, the subject of aesthetic experience is reproductive, and passive. The author focuses on Ingarden’s aesthetics formulated by him in the period of 1925–1944. Moreover, the study presents selected elements of Ingarden’s phenomenology of aesthetic experience, and by doing so, the author aims at showing how Ingarden’s aesthetics was reconsidered by Blaustein, a student of Ingarden, whose theory seems to lead one beyond the scope of ontology. Blaustein, namely, reconsiders Ingarden’s theory of purely intentional objects by interpreting it in a descriptive-psychological, or phenomenological fashion. The article is divided into four parts. In section 1, the author highlights historical interconnections between Ingarden, and Blaustein. Section 2.1. is devoted to Ingarden’s phenomenological approach towards aesthetic experience as a phasic structure. At this basis, in section 2.2., Ingarden’s early theory of intentional objects is to be discussed. Section 3 concerns Blaustein’s contribution to phenomenology of aesthetic experience. Given that Blaustein formulates his theory in discussion with Ingarden, section 3.1. is devoted to Blaustein’s critical assessment of Ingarden’s method, and aesthetics. Next, in section 3.2., the author presents Blaustein’s original theory of presentations, and its use in aesthetics. Finally, in section 4, the author lists similarities, and differences between Blaustein’s and Ingarden’s aesthetic theories.

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Noller, Jörg. "Die Stimmung des Willens." Deutsche Zeitschrift für Philosophie 69, no. 4 (August 1, 2021): 529–52. http://dx.doi.org/10.1515/dzph-2021-0047.

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Abstract This paper reconstructs Friedrich Schiller’s aesthetics from a compatibilist point of view. I shall argue that it is Schiller’s conception of individual self-determination that motivates his aesthetic critique of Kant’s moral philosophy. Schiller conceives of aesthetic self-determination in terms of a compatibilism between reason and nature. As such, Schiller’s aesthetics can be interpreted as an ontological category. His concepts of love, play and the aesthetic state must therefore be understood in terms of volitional structures that describe human freedom in nature, history and society.

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18

Worthington, Glenn. "The Voice of Poetry in Oakeshott's Moral Philosophy." Review of Politics 64, no. 2 (2002): 285–310. http://dx.doi.org/10.1017/s0034670500038109.

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Despite recent interest in Michael Oakeshott's work, his aesthetics have yet to receive an extended consideration. The paper surveys Oakeshott's writings on the character of art and provides a critical account of how his aesthetics complements his moral philosophy. Through his aesthetics Oakeshott provides his moral philosophy with an idea of authenticity. Societies and individuals that have failed to recognize the poetic dimension in the moral life suffer a corruption of consciousness. Far from the poetic dimension of the moral life being responsible for nihilism and aestheticism as some critics have argued, its recognition saves the moral life from becoming a pursuit of arbitrary preferences.

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Spector, Tami I. "Nanoaesthetics: From the Molecular to the Machine." Representations 117, no. 1 (2012): 1–29. http://dx.doi.org/10.1525/rep.2012.117.1.1.

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Rooted in the history of the representation of benzene, this paper examines the evolution of nanoaesthetics from the 1985 discovery of buckminsterfullerene forward, including the aesthetics of molecular machines and scanning probe microscopy (SPM). It highlights buckminsterfullerene's Platonic aesthetics, the aesthetic relationship of nanocars and molecular switches to Boyle's seventeenth-century mechanistic philosophy and twentieth-century machine aesthetics, and the photographic aesthetics of SPM.

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Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.

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In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic categories of beauty, sublime, tragical, comic; aesthetic ideal; nature of art novelty; relations between aesthetics and ethics. Artisticity, symbolization in art, suggestion, idealization, spirituality as the main attributes of authentic art, stylized poetic generalizations, laconism of a plot - these are the basis of Maeterlincks poetic world and his art-aesthetic principles which have become the art base for symbolist philosophy. Maeterlinck paid special attention to the art-aesthetic aspects of the art of theatre connected with creative credo of the playwright, his skill. He was also deeply engaged into exploration of the art influencing power as well as questions of aesthetic perception, empathies, and art hermeneutics. The major thrust of his philosophical-aesthetic research was that of an expectance of the approaching era of great spirituality and supreme mission of the artist-theurgist in it - in this respect Maeterlinck going his way, had a lot of common with the ideas of Paul Claudel, let alone representatives of Russian theourgistic aesthetics. In his poeticized meditations over the future of artistic culture Maeterlinck quite often acts as a teacher of life and, like described by him bees, collecting honey of hopes.

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Rejimon, P. K. "EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH." International Journal of Research -GRANTHAALAYAH 5, no. 9 (September 30, 2017): 217–23. http://dx.doi.org/10.29121/granthaalayah.v5.i9.2017.2234.

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Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and evaluated. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning of philosophy both in the East and West and it continues to the present. In India, philosophy of art is designated as saundaryasastra, which is evolved with an emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning. The rich tradition of Indian aesthetics can be traced back to the second century BC with Bharata’s Natyasastra, the foundation text on Saundaryasastra. Indian aesthetics is evolved with an emphasis on inducing special spiritual or philosophical states in the audience.

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Seel, Martin. "The Career of Aesthetics in German Thinking." Royal Institute of Philosophy Supplement 44 (March 1999): 399–412. http://dx.doi.org/10.1017/s1358246100006810.

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In German philosophy of the last 250 years, aesthetics has played a leading part. Any arbitrary list of great names contains mainly authors who either have written classical texts on aesthetics or are strongly influenced by aesthetic reflection, for instance, Kant, Hegel, Schelling, Schopenhauer, Marx, Nietzsche, Dilthey, Heidegger, Wittgenstein, Gadamer, and Adorno – the few exceptions being Husserl and Frege. It is not by chance that Frege is one of the founding fathers of modern Anglo-Saxon philosophy, where, generally speaking, aesthetics has had only marginal influence. That is not an insignificant difference. The wildest dreams of one tradition were focused on logic, those of the other on aesthetics.

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Turenko, V. E., and N. V. Yarmolitska. "SPECIFICITY AND FEATURES OF THE DEVELOPMENT OF AESTHETICS IN THE UKRAINIAN SOVIET PHILOSOPHY IN THE 50-60s OF THE XX CENTURY." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 24–28. http://dx.doi.org/10.17721/ucs.2021.1(8).05.

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The article highlights the specificity of research in the field of aesthetics in the context of the development of Soviet philosophy in Ukraine in the 50-60s. XX century. There are three main vectors of scientific work: ideological works, original aesthetic developments and historical and aesthetic research. It is revealed that ideological aesthetic works were based on the concept of "positive aesthetics" by A. Lunacharsky, which contributed to the development of the concept of socialist realism, nationality of art by Ukrainian Soviet thinkers, as well as criticism of Western aesthetics and the approval of "Soviet aesthetics". It is shown that, unlike specifically ideological works, the original aesthetic developments were aimed not at substantiating certain provisions of Marxist-Leninist philosophy, but, as far as possible, creating new concepts and ideas in this branch of philosophical knowledge. It was revealed that in the context of historical and aesthetic research, in contrast to Russian researchers, Ukrainian scientists focused mainly on the development of the national tradition. It is proved that during the period under study, aesthetic problems, along with logic, methodology of science, philosophical problems of natural science, were one of the leading in Soviet Ukraine, thereby being one of its centers throughout the Soviet Union.

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Hepburn, Ronald. "Data and Theory in Aesthetics: Philosophical Understanding and Misunderstanding." Royal Institute of Philosophy Supplement 41 (September 1996): 235–52. http://dx.doi.org/10.1017/s1358246100006147.

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This paper has a twofold structure: both parts concern philosophy's understanding (or misunderstanding) of its data—in the area of aesthetics. The first part (I) considers aesthetics as philosophy of art: the second part (II) considers aesthetics as concerned also with the appreciation of nature.

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Viazinkin, Aleksei, and Irina Vladimirovna Dvukhzhilova. "Conservative approach towards aesthetics of architecture: Roger Scruton's philosophy." Архитектура и дизайн, no. 2 (February 2019): 1–6. http://dx.doi.org/10.7256/2585-7789.2019.2.32686.

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The subject of this research is the conservative approach towards aesthetics of architecture in the philosophy of British thinker, aesthetician and theorist of conservatism Roger Scruton. The cultural situation of postindustrial society – consumerism and commodification of culture – requires new approaches in art history, which are capable of establishing protective trends in the social life. Scruton offers an alternative approach towards art, which represents not so much a return to the traditional values, as revival of cultural situation. Such situation implies the existence of art as a translator of traditional values that strengthen social ties. This article is the first within the Russian scientific literature to examine the aesthetics of Scruton’s architecture in the context of his conservative philosophy, which defines the scientific novelty and outlines new horizons for research in the fields of aesthetics of architecture and philosophy of modern British conservatism. The conclusion is made that Scruton's appeal to the topic of aesthetic experience expands the problematic from pure aesthetics to the unity of ethics, theory of solidarity, and axiology of traditional culture.

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Haldane, John. "Ethics, Aesthetics, and Practical Philosophy." Monist 101, no. 1 (January 1, 2018): 1–8. http://dx.doi.org/10.1093/monist/onx030.

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Hopkins, Robert. "Aesthetics as Philosophy of Perception." British Journal of Aesthetics 57, no. 3 (April 27, 2017): 340–44. http://dx.doi.org/10.1093/aesthj/ayw047.

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Steiner, David M. "Aesthetics between Philosophy and Pedagogy." Journal of Education 182, no. 3 (October 2000): 1–20. http://dx.doi.org/10.1177/002205740018200302.

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Olender, Jacek. "Aesthetics as philosophy of perception." Philosophical Psychology 30, no. 1-2 (September 3, 2016): 208–11. http://dx.doi.org/10.1080/09515089.2016.1225953.

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Steiner, David M. "Aesthetics between Philosophy and Pedagogy." Journal of Education 184, no. 1 (January 2004): 39–56. http://dx.doi.org/10.1177/002205740418400104.

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Torsen, Ingvild. "Philosophy of Art after Aesthetics." Heidegger Circle Proceedings 42 (2008): 46–54. http://dx.doi.org/10.5840/heideggercircle2008426.

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Ka-Pok-Tam, Andrew. "On the Limitations of Lao Sze Kwang’s “Trichotomy of the Self” in His Interpretation of Kierkegaard." Kierkegaard Studies Yearbook 26, no. 1 (August 11, 2021): 523–45. http://dx.doi.org/10.1515/kierke-2021-0022.

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Abstract In 1959, Lao Sze-Kwang (1927 – 2012), a well-known Chinese Kantian philosopher and author of the New Edition of the History of Chinese Philosophy, published On Existentialist Philosophy introducing existential philosophers to Chinese readers. This paper argues that Lao misinterpreted Kierkegaard’s ultimate philosophical quest of “how to become a Christian” as a question of ‘virtue completion,’ because he failed to recognize and acknowledge Kierkegaard’s distinction between aesthetic, moral and religious passion. By describing and clarifying Lao’s misinterpretation, the paper then argues that Lao’s trichotomy of the self fails to give due credit to the independence of religiousness from morality and aesthetics in Kierkegaard’s thought.

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Beards, Andrew. "Aesthetics." Modern Schoolman 87, no. 2 (2010): 143–78. http://dx.doi.org/10.5840/schoolman20108723.

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Osolsobě, Petr. "Aesthetics." Journal of Aesthetics and Phenomenology 7, no. 1 (January 2, 2020): 85–87. http://dx.doi.org/10.1080/20539320.2020.1780810.

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Deligiorgi, Katerina. "Aesthetics and Material Beauty: Aesthetics Naturalized." Australasian Journal of Philosophy 89, no. 3 (September 2011): 560–62. http://dx.doi.org/10.1080/00048402.2011.562908.

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Wilson, Nick. "Aesthetics in a persecutory time: introducing Aesthetic Critical Realism." Journal of Critical Realism 19, no. 4 (July 19, 2020): 398–414. http://dx.doi.org/10.1080/14767430.2020.1771014.

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Bojanović, Kristina. "From aesthetical towards ethical: Myth and metaphor as mode of narrative in Levinas." SAJ - Serbian Architectural Journal 9, no. 2 (2017): 171–78. http://dx.doi.org/10.5937/saj1702171b.

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In this paper, I will try to show that Levinas's ethics contains the aesthetics of mythological narrative that has metaphorical ("as if" meaning) and archetypal dimension, while the relation between ethics and aesthetics will be explained by Levinas's perception of eros. These goals are based on the assumption that myth represents uroboric foundation of Levinas's philosophy by which he succeeded in getting rid of the egology of Western thought, but also from the experience of his own imagination. The myth speaks about universals through various representations, relations, characters, etc. Taking into account that universals are archetypes, and that all archetypes in history of mankind have aesthetic dimension, Levinas's philosophy "offers" this archetypal structure of myth through its operational concepts such as eros, infinity, feminine, trauma, maternity, fecundity etc. I will try to show that Levinasian establishing of ethics as philosophia prima is based on language of metaphors and imagination as material and unknowable foundation of psyche.

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MARTIN, PATRICK. "BEING STRUCK: GADAMER ON THE CONTEMPORANEITY OF ART." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 10, no. 1 (2021): 286–304. http://dx.doi.org/10.21638/2226-5260-2021-10-1-286-304.

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With this article I offer a close reading of Gadamer’s Aesthetics and Hermeneutics. The reason I draw attention to this essay is as a response to criticism aimed at Gadamer’s hermeneutic account of art. In its reception, it has occasionally been viewed as too hermeneutical, too focused on understanding. I maintain that Aesthetics and Hermeneutics can be considered exempt from this critique. Here, Gadamer offers us the hermeneutic experience in its most aesthetic guise: in being struck by the significance of the artwork. The main purpose of this article is to clarify this experience. This task I undertake in two steps. First, I emphasize the aesthetic nature of this experience of “being struck” by the artwork in an answer to Figal’s critique. As a supplement to Gadamer’s theoretical remarks in Aesthetics and Hermeneutics, I consider the performance piece Faust by Anne Imhof. The second step of my argument intends to show that Gadamer does not “reduce” the aesthetic experience to a hermeneutic experience of meaning but grounds the experience of art hermeneutically. I will argue for my thesis by closely reconstructing Gadamer’s argument in Aesthetics and Hermeneutics. The guiding question is, what is the significance of this aesthetic experience for Gadamer’s hermeneutics? Gadamer conceptually clarifies the experience of “being struck” in terms of the notion of contemporaneity. In my interpretation, the experience of art shakes us with a sense of self-implication.

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Gamba, Ezio. "The Problem of Individuality in Hermann Cohen’s Aesthetics." RUDN Journal of Philosophy 23, no. 4 (December 15, 2019): 413–19. http://dx.doi.org/10.22363/2313-2302-2019-23-4-413-419.

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Franz Rosenzweig devoted particular attention to the problem of individuality in Hermann Cohen’s philosophy. He writes that, in comparison with the individuality of the man of religion, “the human being about which aesthetics knew [...] fades now in all its aesthetic individuality to a ‘mere type’”. This statement is actually based on Cohen’s writings: in Ästhetik des reinen Gefühls (1912), Cohen explicitly maintains that the human being that is the object of artistic representation is not a type, but rather an individual. Just three years later, however, in his first book about philosophy of religion, Der Begriff der Religion im System der Philosophie (1915), Cohen states that the human being that is represented by art is not really an individual; only the man of religion is really individual; the human being represented by art is merely a type. In this paper my aim is to argue for the thesis that these opposite statements belong to different points of view. From an aesthetic point of view the human being represented by art has to be considered as truly individual, but the systematic overview adopted in Der Begriff der Religion can teach us that the individuality of the human being represented by art can’t be maintained from a different point of view than the aesthetic one.

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Selk, Eugene E. "Aesthetics." Teaching Philosophy 13, no. 2 (1990): 170–72. http://dx.doi.org/10.5840/teachphil199013224.

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Šuvaković, Miško. "Architecture and philosophy: Relations, potentialities and critical points." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 160–75. http://dx.doi.org/10.5937/saj1202160q.

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In the debate "Architecture and Philosophy / the relations, potentialities and critical points" the notions of "philosophy of architecture" and "aesthetics of architecture" will be discussed. The differences between traditional and contemporary philosophy and aesthetics of architecture will be introduced. In a separate sub-chapter the status of "theory" and "theorizing" during the times of late modernism and postmodern culture will be discussed. It has been pointed to the modalities of theory outside philosophy and aesthetics. The discourses from philosophy, humanities, free theorizing and architectural theories are brought closer together. In the final sub-chapter the status of contemporary philosophy and cotemporary architecture have been discussed. The notion of contemporaneity has been particularly elaborated. The central thesis of this paper is the relation of architecture and philosophy, i.e. the theory constituent for modern, postmodern and contemporary architecture. The derived thesis of the discussion is that critical theory of architecture and architectural yearning for "critical architecture" have acquired exceptional significance at the time of global conflicts and, presently at the time of global economic crisis. The theoretical, aesthetic and philosophical attention has essentially been shifted from the immanent questions about architecture (form, function, spectacularity) to the external i.e. transcendental questions about the culture and society, i.e. about the economy, power, governance, supervision, forms of life, flexibility of architectural production, exchange and consumption.

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Barba-Kay, Antón. "The Aesthetics of Agency in Kant and Schiller." Idealistic Studies 46, no. 3 (2016): 259–75. http://dx.doi.org/10.5840/idstudies201882069.

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One of the lasting influences of German Idealism has been the transformation of aesthetics into a central philosophical concern. My aim here is to show how and why Kant’s and Schiller’s formulations of the problems of moral agency, in particular, constitute an important episode of this development. I argue, first, that it is in the context of Kant’s view of moral agency that aesthetics gains larger purchase than it formerly had (as a response to the problem of the identification of an agent with his external action); second, that Schiller expands the role of aesthetics (in response to Kant’s formulation of it) by intensifying a demand for aesthetic abandon in the agent as a bulwark against the threat of its possible “theatricalization.” It is these heightened demands on the first-personal content of agency that thus began the process of transforming the question of moral agency into an aesthetic one.

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Fisher, Saul. "Aestheticism: Deep Formalism and the Emergence of Modernist Aesthetics." British Journal of Aesthetics 57, no. 4 (May 3, 2017): 437–40. http://dx.doi.org/10.1093/aesthj/ayw058.

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Shuangyu, Xue. "World Relational Aesthetics: A Modern-Day Continuation of Theological Aesthetics1." Contemporary Chinese Thought 51, no. 1 (January 2, 2020): 70–78. http://dx.doi.org/10.1080/10971467.2020.1768762.

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Pučiliauskaitė, Saulenė. "L. WITTGENSTEINO ESTETIKOS PAMOKOS." Problemos 75 (January 1, 2008): 108–18. http://dx.doi.org/10.15388/problemos.2008.0.1993.

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Straipsnyje aptariamos L. Wittgensteino mintys apie estetiką. Pagrindinis dėmesys yra skiriamas 1938-ųjų metų paskaitoms, t. y. estetikai, kylančiai iš „lingvistinio posūkio“. „Lingvistinio posūkio“ estetikos sritimi tampa žodžio „gražus“ vartojimo sritis. Straipsnyje pateikiamos skirtingų estetikos lygmenų aptartys bei paties Witttgensteino – neįvykusio menininko – mintys apie meninės kūrybos praktiką. Joje svarbiausios yra originalumo ir genialumo sąvokos. Pagrindiniai žodžiai: estetika, grožis, menas, originalumas, genialumas.Wittgenstein’s Lessons of AestheticsSaulenė Pučiliauskaitė Summary The article discusses Wittgenstein’s thoughts about aesthetics. The focus is laid on his lectures of 1938, where he develops a new notion of aesthetics. We calls it the ‘aesthetics of the linguistic turn’. The area of such an aesthetics is the linguistic use of the word ‘beautiful’ in all possible situations. The article investigates different levels of this use and also discusses Wittgenstein’s – who had a certain artistic praxis –thoughts about real aesthetic activities. The central items of this discussion are originality and geniality. Keywords: aesthetics, beauty, art, originality, geniality.

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Ruin, Hans. "Nietzsche and the Aesthetics of Philosophy." Nietzsche-Studien 50, no. 1 (August 18, 2021): 320–28. http://dx.doi.org/10.1515/nietzstu-2021-0016.

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Abstract The review discusses four recent books and collections that approach in different ways the role of aesthetics in Nietzsche’s work, both as a question of poetic expression and as the shaping of sensibility. They testify to a deepening interest in the processes through which he forged his unique style. This involves micro-analyses of the composition of Nietzsche’s writings from the raw material of his notebooks. It also involves biographical and material contexts, as in Tobias Brücker’s monograph on the composition of The Wanderer and His Shadow. Instead of accepting the dichotomy between a Dichterphilosoph and a philosopher for whom style was merely an instrument for formulating truths, these books display in different ways how in the case of Nietzsche this dichotomy breaks down and gives way to a widened concept of philosophical writing that includes many different genres. Other works by Nietzsche discussed are Zarathustra and The Gay Science, and also Ecce Homo. Nietzsche seduced with his art, but he also saw through the art of seduction as practiced by the artist, opting for a position beyond the conventional split between poetics and philosophy.

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Ruin, Hans. "Nietzsche and the Aesthetics of Philosophy." Nietzsche-Studien 50, no. 1 (September 8, 2021): 320–28. http://dx.doi.org/10.1515/nietzstu-2021-500118.

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Abstract The review discusses four recent books and collections that approach in different ways the role of aesthetics in Nietzsche’s work, both as a question of poetic expression and as the shaping of sensibility. They testify to a deepening interest in the processes through which he forged his unique style. This involves micro-analyses of the composition of Nietzsche’s writings from the raw material of his notebooks. It also involves biographical and material contexts, as in Tobias Brucker’s monograph on the composition of The Wanderer and His Shadow. Instead of accepting the dichotomy between a Dichterphilosoph and a philosopher for whom style was merely an instrument for formulating truths, these books display in different ways how in the case of Nietzsche this dichotomy breaks down and gives way to a widened concept of philosophical writing that includes many different genres. Other works by Nietzsche discussed are Zarathustra and The Gay Science, and also Ecce Homo. Nietzsche seduced with his art, but he also saw through the art of seduction as practiced by the artist, opting for a position beyond the conventional split between poetics and philosophy.

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Миленковић, Душан. "ПРОМЕНА СТАВА СТУДЕНАТА ФИЛОЗОФИЈЕ ПОВОДОМ ДЕСЕТ ЕСТЕТИЧКИХ ТЕЗА – АНАЛИЗА ПОДАТАКА СПРОВЕДЕНОГ ИСТРАЖИВАЊА." ГОДИШЊАК ЗА ФИЛОЗОФИЈУ 3, no. 1 (April 28, 2021): 67–79. http://dx.doi.org/10.46630/gflz.3.2021.05.

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In this paper, I analyze the data obtained from the research conducted by the Department of Philosophy of the Faculty of Philosophy in Niš, Serbia during the academic year 2018/2019. The research collected data about the change of the attitude of students of philosophy regarding various theoretical statements, which students rated before and after attending courses in philosophy. By completing a specially prepared questionnaire before the first and after the second semester, students of the second year of philosophy evaluated, among other things, ten aesthetic statements. Analyzing the information collected, I look at how the teaching of the courses “History of Aesthetics 1” and “History of Aesthetics 2” (which these students attended during this school year) influenced the change that occurred in their attitude toward these statements. In addition to examining the results regarding the change of the attitude of students after the second semester, the paper also explores other data obtained in the research, which point to certain problems in the way a historical overview of aesthetic conceptions in these courses is approached.

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Dissel, Julia-Constance. "Form und Funktion." Deutsche Zeitschrift für Philosophie 68, no. 3 (May 5, 2020): 410–24. http://dx.doi.org/10.1515/dzph-2020-0027.

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AbstractThis essay deals with the terms “form” and “function” as well as their relationship insofar as they are still used in philosophical and design-theory discourse to determine the aesthetic dimension of designed artefacts, especially of everyday objects, and often also to distinguish them from objects of art. I discuss whether our common understanding of these terms and their relationship is an appropriate instrument for such determinations. What is up for discussion here are not only conceptions of functional beauty with regard to design methodology and the philosophical discourse on aesthetics, in which form and function become thematic, but also basic concepts of philosophical aesthetics itself. It is shown that the philosophical understanding of design aesthetics and the concepts of form and function are determined by profound preliminary decisions that restrict our access to the aesthetic dimension of designed artefacts, and a conceptualisation of an initial change in thinking is proposed.

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McGregor, Rafe. "A Literary Aesthetics of War Crime." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 135–53. http://dx.doi.org/10.52685/cjp.21.1.8.

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In order to develop a literary aesthetics of war crime, I examine the phenomenon of moral immunity in military memoir. Using three paradigmatic examples of memoirs of unjust wars characterised by the routine perpetration of war crimes, I argue that moral immunity is achieved by means of three literary devices: literary irresponsibility, ethical peerage, and moral economy. I then employ the proposed literary aesthetics of war crime to provide an answer to the perennial question of the relationship between literature and morality as well as to two specific instantiations of this question, the value interaction debate in literary aesthetics and the ethics of reading in literary theory. My conclusion is that the literary aesthetics of war crime demonstrates both that there is a systematic relationship between aesthetic value and moral value and that there is no systematic relationship between literary ambiguity and moral uncertainty.

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