Results for ' aesthetic concepts'

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  1. Aesthetic concepts, perceptual learning, and linguistic enculturation: Considerations from Wittgenstein, language, and music.Adam M. Croom - 2012 - Integrative Psychological and Behavioral Science 46:90-117.
    Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively (...)
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  2. What is an aesthetic concept?Andrea Sauchelli - 2022 - Asian Journal of Philosophy 1 (1):1-17.
    Aesthetic concepts and conceptions are structured mental representations partly composed of phenomenal concepts. I defend this claim by appealing to contemporary accounts of concepts and to the current literature on phenomenal concepts. In addition, I discuss the relationship between aesthetic concepts and aesthetic understanding — an epistemic state at the centre of much work in contemporary epistemology.
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  3.  43
    Music, Metaphor, and Aesthetic Concepts.Nick Zangwill - 2014 - Journal of Aesthetics and Art Criticism 72 (1):1-11.
    The aesthetic realist interprets many descriptions of music as metaphorical descriptions of aesthetic properties of music. I argue that aesthetic realism requires that nonaesthetic words are used to express both aesthetic and nonaesthetic concepts. But having distinguished the concepts, some plausible account must be given of their relation. A causal account of the relation between the possession of aesthetic and nonaesthetic concepts provides this, since the concepts are distinct but connected. I (...)
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  4. Aesthetic Concepts.Frank Sibley - 1959 - Philosophical Review 68 (4):421-450.
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  5. Aesthetic Testimony and Aesthetic Concepts.Andrea Sauchelli - 2024 - American Philosophical Quarterly 61 (1):59-72.
    I propose a new account of the limits of aesthetic testimony. One of this new account's main claims is that, among the kinds of aesthetic cognitive achievements, it is useful to distinguish aesthetic understanding. In particular, I suggest that the aesthetic understanding of X involves an understanding of why X is aesthetically valuable. In turn, aesthetic understanding is essentially connected to the deployment of aesthetic concepts. Given the fine-grained structure of some of these (...)
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  6. Aesthetic concepts: essays after Sibley.Emily Brady & Jerrold Levinson (eds.) - 2001 - New York: Oxford University Press.
    Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.
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  7.  15
    Border Aesthetics: Concepts and Intersections.Johan Schimanski & Stephen F. Wolfe (eds.) - 2017 - Berghahn Books.
    Few concepts are as central to understanding the modern world as borders, and the now-thriving field of border studies has already produced a substantial literature analyzing their legal, ideological, geographical, and historical aspects. Such studies have hardly exhausted the subject’s conceptual fertility, however, as this pioneering collection on the aesthetics of borders demonstrates. Organized around six key ideas—ecology, imaginary, in/visibility, palimpsest, sovereignty and waiting—the interlocking essays collected here provide theoretical starting points for an aesthetic understanding of borders, developed (...)
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  8.  18
    Aesthetic conceptions and cultural symbols in traditional Chinese painting.Yan Guan - 2024 - Trans/Form/Ação 47 (4):e0240066.
    Resumen: La concepción estética en la pintura tradicional china es un concepto esencial en el antiguo pensamiento estético chino y sirve como criterio estético supremo perseguido en la creación pictórica clásica. Los artistas utilizan obras únicas para mostrar la concepción estética en la pintura tradicional china, destacando así los rasgos distintivos de la pintura china. Este artículo realiza un análisis genealógico de la concepción artística en la pintura tradicional china y lo combina con símbolos culturales específicos para su interpretación, con (...)
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  9. Aesthetic concepts and aesthetic experiences.Derek Matravers - 1996 - British Journal of Aesthetics 36 (3):265-279.
    In this paper I want to return to some well-worn ideas; specifically, the attempt to show that there is a distinctive subject-matter of the aesthetic via consideration of the difference between aesthetic and non-aesthetic concepts. The classic exposition of this distinction is Frank Sibley's 'Aesthetic Concepts'. Sibley claimed that, given a set of relevant terms, there will be widespread non-collusive agreement as to which are aesthetic and which non-aesthetic. Non-aesthetic terms include (...)
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  10. Thick Aesthetic Concepts.Roman Bonzon - 2009 - Journal of Aesthetics and Art Criticism 67 (2):191-199.
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  11.  18
    Aesthetic Concepts and Education. [REVIEW]James L. Jarrett - 1971 - Journal of Aesthetic Education 5 (1):173.
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  12.  32
    Aesthetic Concepts.Derek Matravers - 2005 - Supplement to the Proceedings of the Aristotelian Society 79 (1):191-210.
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  13. Aesthetic concepts.R. Meager - 1970 - British Journal of Aesthetics 10 (4):303-322.
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  14.  11
    Aesthetic concepts and education.Ralph Alexander Smith (ed.) - 1970 - Urbana,: University of Illinois Press.
  15.  31
    The Aesthetic Concept of Yi 意 in Chinese Calligraphic Creation.Xiongbo Shi - 2018 - Philosophy East and West 68 (3):871-886.
    In ancient Chinese philosophy, yi 意 means both "intention" and "idea," which means, according to Edmund Ryden, that it can be voluntative or cognitive.1 As a widely used aesthetic category, yi has multiple dimensions in Chinese art theory. Stephen Owen, for example, summarized several common usages of yi in literary criticism: yi as "the clever interpretation of some material," as the act of giving relation to the sensory data, as "intention" or "will," and as "the way someone thinks of (...)
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  16.  22
    "Health" as an Aesthetic Concept.Rom Harré - 1990 - Cogito 4 (1):35-40.
  17.  85
    Aesthetic conception of Russian Formalism.Valerij Gretchko - 2003 - Sign Systems Studies 31 (2):523-531.
    At present the theory of Russian Formalism becomes actual once again owing to the rapid development of cognitive science. Aesthetic theories recently put forward within the framework of cognitive science turned out to be consonant with the Formalist’s views on the general principles of artistic activity. In my paper I argue that (1) the theory of Russian Formalism contains a number of methodological assumptions that are close to a cognitive approach; (2) some of the main principles of the Formalist (...)
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  18.  72
    The aesthetic concept of craftsmanship.Mark Roskill - 1977 - British Journal of Aesthetics 17 (2):138-148.
  19. Adorno's aesthetic concept of aura.Yvonne Sherratt - 2007 - Philosophy and Social Criticism 33 (2):155-177.
    Philosophers within the discipline of the history of philosophy have long since demonstrated a preoccupation with the history of aesthetic ideas. However, not all aesthetic concepts in 19th- and 20th-century thought have been given an adequate analysis. One concept which, while attracting interest in literary theory debates, has rarely been mentioned in history of philosophy debates, is that of aura . The reason for the marginal role of aura in present debates is due no doubt to the (...)
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  20.  25
    Transcendence as an Aesthetic Concept: Implications for Curriculum.Katherine Lee - 1993 - The Journal of Aesthetic Education 27 (1):75.
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  21.  31
    Aesthetic Concepts--Essays after Sibley. [REVIEW]E. Schellekens - 2002 - Australasian Journal of Philosophy 80 (4):536-538.
    Book Information Aesthetic Concepts--Essays after Sibley. Edited by Emily Brady and Jerrold Levinson. Clarendon Press. Oxford. 2001. Pp. ix + 239. £35.
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  22. Aesthetic concepts: A rejoinder.Frank Sibley - 1963 - Philosophical Review 72 (1):79-83.
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  23.  22
    The Aesthetic Concept of Craftsmanship.Harold Osborne - 1977 - British Journal of Aesthetics 17 (2):138.
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  24.  17
    Japanese aesthetic concepts and phenomenological inquiry.Mark Meli - 2003 - Analecta Husserliana 78:243-252.
  25.  17
    Learning Aesthetic Concepts and Justifying Aesthetic Judgments.Phillip Montague - 1979 - The Journal of Aesthetic Education 13 (1):45.
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  26. Aesthetic concepts: Some fresh considerations.Peter Kivy - 1979 - Journal of Aesthetics and Art Criticism 37 (4):423-432.
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  27.  1
    The Aesthetics of the Invisible—At the Margins of Phenomenology.Technology Meirav Almog Kibbutzim College of Education, the ArtsMeirav Almog, the Arts in Tel-Aviv Technology, in Particular Israelshe Specializes in Twentieth Century Continental Philosophy, Aesthetics Her Research Interests Phenomenology, Alterity Publications Concern Questions Regarding Corporeality, Intersubjective Relations Dialogue & Human Existence The Relations Between Style - 2025 - Journal of Aesthetics and Phenomenology 11 (1):47-61.
    The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...)
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  28. Confucius's aesthetic concept of noble man: Beyond moralism.Ha Poong Kim - 2006 - Asian Philosophy 16 (2):111 – 121.
    The prevailing interpretation of ren (humanness) in the Analects is ethical. One consequence of this interpretation is the one-dimensional image of the Confucian junzi (noble man) as a rigid moralist, a fastidious observer of li (ritual). But there are numerous passages in the Analects that resist such a one-sided representation of the junzi, especially Confucius's remarks related to the (Book of) Songs and music. My basic thesis is that Confucius's concept of junji is aesthetic. This is implied by his (...)
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  29.  55
    Aesthetic Concepts: Essays after Sibley. [REVIEW]Ronald Hepburn - 2003 - Review of Metaphysics 56 (3):635-636.
    Frank Sibley was a philosopher who achieved notably sharp, lucid analyses of fundamental issues in aesthetics. This lively collection witnesses to the continuing power of his ideas to stimulate fresh thinking in and beyond his field.
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  30. Review: Aesthetic concepts: Essays after Sibley. [REVIEW]Derek Matravers - 2002 - Mind 111 (444):912-916.
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  31. Play as an aesthetic concept.Hilde Hein - 1968 - Journal of Aesthetics and Art Criticism 27 (1):67-71.
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  32.  28
    Aesthetic Concepts and Education. [REVIEW]Patricia Sloane - 1970 - Journal of Critical Analysis 2 (3):48-50.
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  33.  26
    Knowledge Accumulation in Theatre Rehearsals: The Emergence of a Gesture as a Solution for Embodying a Certain Aesthetic Concept.Stefan Norrthon & Axel Schmidt - 2023 - Human Studies 46 (2):337-369.
    Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on (...)
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  34.  50
    The Logic of Aesthetic Concepts.Isabel C. Hungerland - 1962 - Proceedings and Addresses of the American Philosophical Association 36:43 - 66.
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  35.  2
    "Aesthetic Concepts and Education": Ralph A. Smith. [REVIEW]Sonia Rouve - 1972 - British Journal of Aesthetics 12 (2):195.
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  36.  3
    The Aesthete as a Failed Religious Man: Notes on the Aesthetic Conception of Existence in Either/Or, Part I by Søren Kierkegaard.Alejandro Peña Arroyave - 2025 - Filozofia 80 (1):81-94.
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  37. Aesthetic concepts: Essays after Sibley. [REVIEW]Aaron Meskin - 2004 - British Journal of Aesthetics 44 (1):90-93.
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  38. Evil is an Aesthetic Concept.Rasmus Ugilt - forthcoming - Diacritics.
     
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  39. Sibley's "aesthetic concepts".H. R. G. Schwyzer - 1963 - Philosophical Review 72 (1):72-78.
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  40.  56
    Sibley's "aesthetic concepts": An ontological mistake.Gary Stahl - 1971 - Journal of Aesthetics and Art Criticism 29 (3):385-389.
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  41.  39
    Secondary senses and aesthetic concepts: A reply to professor Tilghman.Peter Kivy - 1981 - Philosophical Investigations 4 (1):35-38.
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  42. Comic as an Aesthetic Concept.David Thoreau Wieck - 1961 - Dissertation, Columbia University
     
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  43. Wittgenstein on Aesthetic Concepts.Rekha Jhanji - 1979 - Indian Philosophical Quarterly 6 (3):545.
  44. More on aesthetic concepts.J. F. Logan - 1967 - Journal of Aesthetics and Art Criticism 25 (4):401-406.
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  45. Authenticity and Artistic Representation in the Modern Age: Heidegger’s “Anti-aesthetic” Conception Reconsidered.Carl Humphries - 2011 - Estetyka I Krytyka 21:77-88.
     
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  46. Frank Sibley's “Aesthetic Concepts”.R. David Broiles - 1964 - Journal of Aesthetics and Art Criticism 23 (2):219-225.
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  47.  59
    Aesthetic pleasure: cognition and emotion in the aesthetic concepts. Remarks after Sibley’s works.Giulia Bonasio - 2014 - Rivista di Estetica 55:183-201.
    My aim in this paper is to propose a new categorization of a specific set of aesthetic concepts, using Sibley’s theory of the aesthetic concepts as a starting point. I discuss the status of aesthetic concepts connected with pleasure and the role of aesthetic pleasure. I examine Sibley’s theory and the importance of its results for the conceptual art. Then, I compare Sibley’s theory and Kant’s theory specifically on the theme of judgment, universal (...)
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  48. (1 other version)Some Remarks on Descriptive and Negative Aesthetic Concepts: A Critical Note.Ondřej Dadejík & Štěpán Kubalík - 2013 - Estetika: The European Journal of Aesthetics 50 (2):206-211.
    This critical note on Tomáš Kulka’s ‘Why Aesthetic Value Judgements Cannot Be Justified’ revisits Kulka’s treatment of what he calls the main thesis of Frank Sibley’s famous essay ‘Aesthetic Concepts’ (1959). According to this thesis, ‘There are no non-aesthetic features which serve as conditions for applying aesthetic terms’, and ‘aesthetic or taste concepts are not in this respect condition-governed’. Kulka argues that this thesis fails to apply to descriptive concepts and some negative (...)
     
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  49.  1
    A Response to Günter Figal’s Aesthetic Monism: Phenomenological Sublimity and the Genesis of Aesthetic Experience.GermanyIrene Breuer Irene Breuer Bergische Universität Wuppertal, Dipl-Ing Arch: Degree in Architecture Phil), Then Professor for Architectural Design Germanylecturer, Phenomenology at the Buwdaad Scholarship Buenos Airesto Midlecturer for Theoretical Philosophy, the Support of the B. U. W. My Research Focus is Set On: Ancient Greek Philosophy Research on the Reception of the German Philosophical Anthropology in Argentina Presently Working on Mentioned Research Subject, French Phenomenology Classical German, Architectural Theory Aesthetics & Design Cf: Https://Uni-Wuppertalacademiaedu/Irenebreuer - 2025 - Journal of Aesthetics and Phenomenology 11 (1):151-170.
    This paper aims to pay tribute to Figal’s comprehensive and innovative analysis of the artwork and beauty, while challenging both his realist position on the immediacy of meaning and his monist stance that reduces sublimity to beauty. To enquire into the origin of aesthetic feelings and sense, and thus, to break the hermeneutic circle, we first trace the origin of this reduction to the reception of Burke’s concept of the sublime by Mendelssohn and Kant. We then recur to Husserl (...)
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  50. Concepts of Truth in Literature: A Contemporary Reading of Hartmann's Aesthetics.Íngrid Vendrell-Ferran - forthcoming - In Thomas Kessel & Friedrich Hausen, Wert und Wahrheit in der Kunst. Die Ästhetik Nicolai Hartmanns.
    This paper offers a reading of Hartmann’s philosophy of literature from the perspective of contemporary aesthetics. In particular, I focus on his defense of the truth-value of literary works. After outlining the main concern of the paper (sect. 1), I place Hartmann’s view within the context of current aesthetic cognitivism (sect. 2). In the following three sections, I discuss Hartmann’s account, examining his critique of the thesis that literature is cognitively valuable because it transmits factual truths (sect. 3); his (...)
     
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