Philosophical discussions on beauty have a long history. The discussions manifest the ambiguity of the concept; meanings of beauty and its role as an explanatory power of diverse tangible and intangible phenomena vary between disciplines and theoretical points of view. What is the essence of beauty? The notions of beauty comprises opposing qualities by being simultaneously a timeless idea penetrating all cultures and a profoundly historical concept, whose focuses, definitions, and contents change in the process of (...) time and vary between different cultural contexts. The significance of beauty for man is undeniable: it is a driving force in cultural production and creative thinking and a source of diverse emotions ranging from exhilaration to religious devoutness. Philosophies of Beauty on the Move investigates the essence of beauty by exploring its ontological and epistemological terms of existence in order to understand the paradoxes of beauty. (shrink)

The Third Earl of Shaftesbury was many things – moralist, aesthete, freethinker, classicist, Whig, as well as self-interrogating author of unpublished journals alongside his three-volume Characteri...

An engaging account of how Shaftesbury revolutionized Western philosophy At the turn of the eighteenth century, Anthony Ashley Cooper, the third Earl of Shaftesbury, developed the first comprehensive philosophy of beauty to be written in English. It revolutionized Western philosophy. In A Philosophy of Beauty, Michael Gill presents an engaging account of how Shaftesbury’s thought profoundly shaped modern ideas of nature, religion, morality, and art—and why, despite its long neglect, it remains compelling today. Before (...) Shaftesbury’s magnum opus, Charactersticks of Men, Manners, Opinions, Times, it was common to see wilderness as ugly, to associate religion with fear and morality with unpleasant restriction, and to dismiss art as trivial or even corrupting. But Shaftesbury argued that nature, religion, virtue, and art can all be truly beautiful, and that cherishing and cultivating beauty is what makes life worth living. And, as Gill shows, this view had a huge impact on the development of natural religion, moral sense theory, aesthetics, and environmentalism. Combining captivating historical details and flashes of humor, A Philosophy of Beauty not only rediscovers and illuminates a fascinating philosopher but also offers an inspiring reflection about the role beauty can play in our lives. (shrink)

There has long been a need for a work on the philosophy of beauty treating fundamental problems against the background of the history of aesthetics--ancient and medieval as well as modern and contemporary. This book answers that need with the comprehensive presentations of an objectivist philosophy of beauty to balance the currently popular aesthetic subjectivism. It includes a synopsis of views and theories expressed on the various questions about beauty by philosophers down through the ages. (...) Kovach's acquaintance with relevant literature from the ancient Greeks to twentieth-century authors is staggering. He draws on the observations of thinkers from ancient times--Plato, Aristotle. Philo of Alexandria, Cicero, Plotinus, Augustine, Dionysius the Areopagite, and others; from medieval times--Alexander of Hales, John of la Rochelle, Thomas of York, Bonaventure, Albert the Great, Thomas Aquinas, Dionysius the Carthusian, and others; from modern times--Descartes, J. Addison, Kant, Hegel, Schopenhauer, Nietzsche, Tolstoi, Santayana, Croce, Maritain, Sartre, H. Read, Thomas Munro, and others. With delicate precision Kovach systematically discusses the philosophy of beauty and the problems it raises. Whether or not one agrees with Kovach's objectivist position, no one in the field can afford to be without this book. (shrink)

Like Anthony Ashley Cooper, Third Earl of Shaftesbury, his subject, Michael Gill is concerned with his readers’ preconceptions. He comments on the fiction of an Ethiopian suddenly displaced from hi...

pt. 1. Perspective -- pt. 2. Special concepts.

This book is a detailed examination of Thomistic objectivist aesthetics in the context of a criticism of contemporary subjective theories. The thesis of the book is developed logically with many, and often detailed, references to the history of aesthetics. There are numerous useful footnotes and a large bibliography and index. In the context of his realist position, Kovach seeks "... the ultimate principles or causes of the beauty of things" which he argues entail the "... extramental, objective reality of (...) beauty." His thesis rests on empirical fact; "... while seeing and/or hearing certain objects, some people experience delight" and the beauty "in" the things causes this delight. After discussing problems of causality, Kovach defends the argument that beauty is similar to other physical qualities which the realist believes are in necessary cause-and-effect relationships. This involves him in a criticism of subjectivism and relativism. He does this by means of a thorough description and treatment of thirty-six reasons for aesthetic disagreement. I would agree that relationism is a form of objectivism but not, as he claims, "ill-disguised." Aesthetic perception may be a way of perceiving things that have the required components to elicit this response. Such a relation might be described phenomenologically. Beauty for Kovach is explained cosmologically; we reach an understanding of absolutely universal beauty by determining the essence of material beauty through progressively complex instances. His defense is interesting. For example, he diagrams the most plausible divisions of beauty from the history of aesthetics and argues that all things in creation participate in beauty by a clever examination of theories of ugliness.—P.S. (shrink)

Few philosophers of note have been subject to the exigencies of intellectual fad and fashion quite like Anthony Ashley Cooper, third Earl of Shaftesbury (1671–1713), once an influential and widely read author of a best-seller, who was largely forgotten until rediscovered by twentieth-century aestheticians claiming him as a founder of their discipline (11–14). The collection of his mature works, Characteristicks of Men, Manner, Times (1711), now boasts three modern editions and is routinely anthologized, and an expanding body of scholarship is (...) devoted to studying his thought. Shaftesbury remains a marginal figure, however, with his contribution to the canon, especially in the realm of moral philosophy, still... Read More. (shrink)

This book is the most comprehensive, integrated explanatory account yet published of the properties of question formations and their variation across languages. It makes an important contribution to the current debate over whether syntax should be understood derivationally, arguing that thebest model of language is one in which sentences are constructed in a series of operations that precede or follow each other in time. The central problem it addresses is the nature of the difference between (a) languages in which all (...) wh-words move overtly to a clause-initial position (exemplified byBulgarian); (b) languages in which one wh-phrase moves per clause but all others remain in situ (exemplified by English); and (c) languages in which there is no overt movement at all (exemplified by Japanese). Professor Richards focuses on the nature of syntactic movement in order to see what this reveals about the syntactic derivation. He considers the nature of interactions between movement operations and investigates the behaviour of multiple overt wh-movement, scrambling, cliticization, and objectshift. His general conclusions about the relationship between movement and multiple specifiers follow straightforwardly from basic principles of Shortest Move and Shortest Attract. He develops a PF-imposed well-formedness condition on movement chains (essentially, a requirement that a single memberof the chain be unambiguously identified as the copy to be pronounced), which allows for the development of theories of anti-agreement, the that-trace effect, and the conditions on participial agreement in Romance, among other phenomena. He defends the claim that well-formed dependencies can improvethe status of ill-formed dependencies created later in the derivation, illustrating the explanatory power, under certain structural conditions, of his Principle of Minimal Compliance. He uses data on the locality of wh-movement to argue that the Principle of Minimal Compliance is responsible for anumber of the apparent distinctions between overt and covert movement. This book will interest syntacticians at graduate level and above as well as linguistic theorists concerned with the syntax-semantics interface. (shrink)

Michael B. Gill’s new book on the third Earl of Shaftesbury’s philosophy of beauty gathers his articles on the same topic of the last few years, adds new chapters to them, and gives an elegant fini...

It is appropriate to deal with The Philosophy of Living and This Strange Idea of the Beautiful together since they both embody the methodology of François Jullien that is to be found in many of his books. The European Continental tradition in philosophy on a particular topic is outlined and then contrasted unfavorably with Chinese philosophy on the same topic, although it has to be said immediately that by “Chinese philosophy” the author means those parts of (...) it that he selects. Often this approach is perceptive and imaginative, and Jullien always has interesting things to say on what is thought by the philosophers that he considers. Of these two books his approach works far better with the one on beauty; the... (shrink)

Michael B. Gill’s A Philosophy of Beauty: Shaftesbury on Nature, Virtue, and Art focuses on Shaftesbury’s thinking about nature, religion, morality, and art. This beautifully and engagingly written book is insightful for scholars and general readers alike, and invites readers to explore the philosophical issues that arise from Shaftesbury’s philosophy. Gill not only shows how Shaftesbury’s ideas were revolutionary at the turn of the eighteenth century but also how they remain relevant today. Shaftesbury’s major work, Characteristicks of (...) Men, Manners, Opinions, Times, was one of the most influential books published during the first half of the eighteenth century. According to Gill, “[i]t played a momentous role in turning European thought away from the negative and toward the positive—in nature, religion, morality, and art” (1). Although Characteristicks serves as a major source, Gill also engages with numerous other published and unpublished writings by Shaftesbury. A Philosophy of Beauty is divided into five chapters which focus respectively on nature and God, virtue, art, painting, and writing. (shrink)

This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and (...) is part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism. (shrink)

A thorough historical survey of philosophies of the arts.

A thorough historical survey of philosophies of the arts.

This book provides original descriptive accounts of two schools of thought in the philosophy of beauty: the 20th-century "Anti-Aesethetic" movement and the 21st-century "Beauty Revival" movement. It also includes a positive defence of beauty as a lived experience extrapolated from Beauty-Revival position. Beauty was traditionally understood in the broadest sense as a notion that engages our sense perception and embraces everything evoked by that perception, including mental products and affective states. This book constructs and (...) places in parallel with one another the Anti-Aesthetic and Beauty-Revival movements. In the author's view, Anti-Aestheticism is devoted to a decisive negation of beauty-denying its importance as a philosophical notion and its significance as a lived experience. It suggests that beauty is a merely sensual experience, which can be used, at best, as a distraction from justice and, at worst, as an instrument of evil. Alternatively, the Beauty-Revival movement advances arguments for beauty as an experience that extends primarily to sensual experience, but which also calls forth mental products and cognitive and affective states evoked by that experience. After reconstructing these two positions, the author elaborates on the notion of beauty as a lived experience through three key moments which occur in the process of our experiencing beautiful objects. These moments are (a) the conditions that constitute an experience of beauty, (b) the attitudinal features most likely to lead to the experience of beauty, and (c) the results of the experience of beauty. The Revival of Beauty will be of interest to scholars and advanced students working in aesthetics, history of philosophy, and art history. (shrink)

Does this Bonnes-Mares really have notes of chocolate, truffle, violets, and merde de cheval? Can wines really be feminine, profound, pretentious, or cheeky? Can they express emotion or terroir? Do the judgements of 'experts' have any objective validity? Is a great wine a work of art? Questions like these will have been entertained by anyone who has ever puzzled over the tasting notes of a wine writer, or been baffled by the response of a sommelier to an innocent question. Only (...) recently, however, have they received the serious philosophical attention they deserve. Touching on issues in metaphysics, epistemology, the philosophy of mind, and aesthetics, this book provides a clear and engaging discussion of the philosophical significance of wine that will be accessible to all wine lovers, specialists and non-specialists alike. The author offers throughout a sustained defence of the objectivity of wine judgements, a demystification of the nature of expertise, and a theory of the aesthetic value of wine and its appreciation. (shrink)

This paper takes the work of Hans Urs Von Balthasar as a starting point and context for a philosophical recovery of beauty. Balthasar labored to recover a theological aesthetics within contemporary theology. However, his suspicion of modern philosophy with its turn to the subject left him unable to articulate the proper philosophical foundations for a modern recovery of beauty. He acclaimed the achievement of Aquinas but did not move beyond him. Therefore,the paper presents an argument for a (...) transposed philosophy of Aquinas through the thought of Bernard Lonergan. One that can properly ground a theological aesthetics because it reckons with the philosophers of doubt, and allows for the incorporation of other cultural notions of beauty that Balthasar admits are lacking in his own aesthetics. (shrink)

The role of judgments of beauty in scientific theory evaluation is the subject of significant debate in contemporary philosophy of science. This book advances that debate by broadening its scope. In Judgments of Beauty in Theory Evaluation, the author argues that judgments of beauty are a justified part of theory evaluation of all sorts: not only scientific theory evaluation, but also philosophical theory evaluation. The author argues for this thesis by providing an account of beauty—inherited (...) from Kant and Mothersill—on which the distinctive nature of judgments of beauty is that they are unprincipled, yet possible. The author then analyzes two important methods of theory evaluation—reflective equilibrium and simplicity—and argues that these methods require making judgments of beauty so understood. Finally, the author argues that these methods of theory evaluation are not anomalies, but that they point to a deeper lesson about the nature of theorizing and the necessity of using judgments of beauty to evaluate systems, like theories. This conclusion has implications for the debate in philosophy of science over judgments of beauty, but also prompts a reckoning in philosophy itself over the use of judgments of beauty in philosophical theory evaluation. (shrink)

An acclaimed philosopher argues that living life to the fullest requires seeing life through the lens of beauty Say you and your friend often go hiking. One day, they propose that you go skydiving instead. You're wavering, and they deliver a rousing speech. They tell you, Come on, you only live once! You relent. Why? In This Beauty, philosopher Nick Riggle investigates the things we say to inspire each other and ourselves: seize the day, treat yourself, you only (...) live once. Riggle calls them existential imperatives, and they present a conundrum. They are at best vague, at worst stupid. And yet these exhortations can't help but be profound. Drawing on insights from aesthetics and from his experiences as a professional skater, academic, and new father, Riggle argues that these phrases shock us out of our routines and key us into the beauty of life. Insightful and deeply humane, This Beauty offers a personal and searching inquiry into the mystery of life's beauty. (shrink)

In this article, aristotle firmly locates art as a practical-intellectual virtue of making. it governs our acts of providing forms from the mind, and for contingent materials that already have a natural form. whereas the useful arts compensate for the deficiencies of nature in meeting human needs, the imitative arts operate selectively to pervade the materials with significant, likely, and pleasing patterns. although he does not explicitly link art and beauty, aristotle does regard art as a splendid embodiment of (...) order, determinateness, and human striving. (shrink)

_Aesthetic Order_ challenges contemporary theories of aesthetics, offering the idea of beauty as quantitative yet different from the traditional discursive order. It will be of importance to all interested in aesthetic theory.

The notion of beauty has been and continues to be one of the main concerns of aesthetics and art theory. Traditionally, the centrality of beauty in the experience of art was widely accepted and beauty was considered one of the key values in aesthetics. In recent debate, however, the significance of the notion of beauty has been discussed controversially. Especially in the second half of the twentieth century, the role of beauty was strongly challenged both (...) by artists and in philosophy and theory of art. Beauty was no longer a central value, but just one aesthetic feature among many others. In recent years, however, the notion of beauty has been re-evaluated, some even speak of a “comeback of beauty”. Against this background it is one of the main tasks and challenges of contemporary aesthetics to develop a more profound understanding of the nature of beauty, its different forms and dimensions, and its place in art theory and practice – and in human life. In the contributions to this volume, leading scholars in the field explore the significance of the notion of beauty, its key aspects, and its relevance in various aesthetic disciplines. The questions addressed in the volume can be summarized in the following three headings: What is beauty? What is beautiful? How does the value of beauty relate to other aesthetical values? The volume contains a selection of invited contributions, including: María José Alcaraz León, Hanne Appelqvist, Allen Carlson, Noël Carroll, Stephen Davies, Richard Eldridge, John Gibson, Peter Lamarque, Catrin Misselhorn, Otto Neumaier, Elisabeth Schellekens, Maria Elisabeth Reicher-Marek, Sonia Sedivy, Davide dal Sasso, and Lisa Kathrin Schmalzried -/- . (shrink)

This article describes what it is like to experience beauty in visual art. Our phenomenological analysis of interviews with visual art museum visitors shows that beauty appears as the relationship between two different experiential modes. Initially, the perceiver feels herself affectively and bodily immersed in the perceived while awareness of herself pulls back. Self-awareness eventually returns, allowing for a subtle yet distinct mode of reflection in which the viewer looks back at the initial moment of felt connection with (...) the perceived. Our analysis suggests that beauty experience arises when a slight perceptual distance allows for a subtle mode of reflection on the involvement with the artwork that took place in the immediate past. The initial moment returns as an affectively charged memory, which the perceiver longs to restore or repeat. The article relates beauty’s apparent two-fold nature to the question of how the fundamental capacity for aesthetic experience psychologically develops. It concludes that beauty experience originates from the combined capacity of self-forgetful immersion and self-contemplative distance. (shrink)

In the ultimate meeting of the sublime with the ridiculous" (London Evening Standard) My Beautiful Despair blends the existential philosophy of Søren Kierkegaard with the superficial musings of Kim Kardashian West, based on the popular Twitter feed @KimKierkegaard. The love child of Søren Kierkegaard and Kim Kardashian, the @KimKierkegaard Twitter account has been admired, praised, and adored in The New Yorker, The Washington Post, The New York Times, Financial Times, The Economist, New York, Buzzfeed, and more, and has amassed (...) nearly a quarter of a million Twitter followers, including J.K. Rowling and Anna Kendrick. A mash-up of Kim's tweets and observations with Kierkegaard's philosophy, Kim Kierkegaardashian shares their musings on fashion, beauty, brunch, and the relentless waves of existential dread that wash over us day after day. Now in a humorous, illustrated gift book, perfectly suited for our existential times, Kierkegaardashian's philosophical insights are juxtaposed for the first time with Dash Shaw's brilliant black-and-white illustrations. A sample of the revelations included in My Beautiful Despair include: - I have majorly fallen off my workout-eating plan! AND it's summer. But to despair over sin is to sink deeper into it. - Obsessed with protecting your skin, lips, hair & face from the sun? Close the cover of the coffin tight, really tight, and be at peace. - I like my men like I like my coffee: a momentary comfort in the midst of all my suffering. - What is the operation by which a self relates itself to its own self, transparently? Selfie. - What if everything in life were a misunderstanding, what if laughter were really tears? Scared LOL!! - Glamour, menswear, top hat. (shrink)