Results for '18th century aesthetics'

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  1.  72
    Diderot's Answer To The Problem Of Perception In The 18th Century Aesthetics.Ali Can Tural - 2024 - Dokuz Eylül University Journal of Humanities.
    The 18th century witnessed the transformation of aesthetics into an independent philosophical discipline. In this period, two main traditions emerged, based on which we can categorize aesthetic theorists. The first of these is classical or rationalist aesthetics, and the other is empiricist or subjective aesthetics. Because classical/rational aesthetic theories were largely based on Cartesian metaphysics, they also inherited the difficulties faced by Cartesian metaphysics. For Descartes, senseperception is not a reliable mode of cognition and truth (...)
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  2. 18th century German aesthetics.Paul Guyer - 2008 - Stanford Encyclopedia of Philosophy.
  3.  32
    18th century French aesthetics.Jacques Morizot - 2008 - Stanford Encyclopedia of Philosophy.
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  4.  16
    Common Sense in Early 18th-Century British Literature and Culture: Ethics, Aesthetics, and Politics, 1680-1750.Christoph Henke - 2014 - De Gruyter.
    In a time of political, epistemic and aesthetic revolutions, early 18th-century Britain saw the emergence of a public discourse of common sense which had a lasting influence on cliched concepts of cultural identity. By retracing the compensatory impulses of common sense discourse and highlighting the role of literary texts in its formation and dissemination, this study challenges the received view of Augustan England as a mere Age of Reason.".
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  5.  38
    Correspondences between music and the sister arts, according to 18th century aesthetic theory.Herbert M. Schueller - 1953 - Journal of Aesthetics and Art Criticism 11 (4):334-359.
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  6.  53
    Aesthetic appreciation of experiments: The case of 18th-century mimetic experiments.Alexander Rueger - 2002 - International Studies in the Philosophy of Science 16 (1):49 – 59.
    This article analyzes a type of experiment, very popular in 18th-century natural philosophy, which has apparently not led to insights into nature but which was aesthetically especially attractive. These experiments--"mimetic experiments"--allow us to trace a connection between aesthetic appreciation in science and in art contemporaneous with the science. I use this case as a problem for McAllister's theory of aesthetic induction according to which aesthetic standards in science tend to be associated with empirical success and propose an alternative (...)
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  7.  50
    The Philosophy of Art in Reid's Inquiry and Its Place in 18th-Century Scottish Aesthetics.Michael J. Demoor - 2006 - Journal of Scottish Philosophy 4 (1):37-49.
    Abstract It is argued that the scattered remarks on the fine arts made in Reid's Inquiry into the Human Mind (1764) present a conception of the relation between perception and the fine arts that is at once compatible with and different from Reid's mature theory of art in Of Taste (1785). This alternative account of art-relevant perception also points beyond the limits of a philosophy of art developed according to the traditional theory of taste dominant in 18th-century Scottish (...)
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  8.  1
    Társiasság és tekintély: esztétikai politika a 18. századi Angliában [Sociability and Authority: Aesthetic Politics in 18th-Century Britain].Endre Szécsényi - 2002 - Budapest, Hungary: Osiris Kiadó.
    This monograph analyses the aesthetic dimensions of politics and political philosophy in 18th-century British thought, by focusing on Lord Shaftesbury, David Hume and Edmund Burke.
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  9.  86
    Scottish Philosophy in the 18th Century.Alexander Broadie - 2001 - Stanford Encyclopedia of Philosophy.
    Philosophy was at the core of the eighteenth century movement known as the Scottish Enlightenment. The movement included major figures, such as Francis Hutcheson, David Hume, Adam Smith, Thomas Reid and Adam Ferguson, and also many others who produced notable works, such as Gershom Carmichael, George Turnbull, George Campbell, James Beattie, Alexander Gerard, Henry Home (Lord Kames) and Dugald Stewart. I discuss some of the leading ideas of these thinkers, though paying less attention than I otherwise would to Hume, (...)
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  10.  42
    Ape to Apollo: aesthetics and the idea of race in the 18th century.David Bindman - 2002 - Ithaca, N.Y.: Cornell University Press.
    Ape to Apollo is the first book to follow the development in the eighteenth century of the idea of race as it shaped and was shaped by the idea of aesthetics.
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  11.  15
    The history of Finnish aesthetics from the late 18th century to the early 20th century.Oiva Kuisma - 2006 - Vammala: Societas Scientiarum Fennica.
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  12. Art and Enlightenment: Scottish Aesthetics in the 18th Century.Jonathan Friday - 2006 - Appraisal 6.
  13. Aesthetic and moral of the 17th and 18th century: Philosophy of 'sentiment'.Gianni Paganini - 2007 - Giornale Critico Della Filosofia Italiana 3 (3):535-538.
  14.  28
    A Panoramic Overview of British Eighteenth-Century Aesthetics.Montserrat Martínez García - 2013 - Cultura 10 (2):93-112.
    The aim of this paper is not to focus on a particular thematic issue of Aesthetics, offering an exhaustive approach of it, but to display a broader map allowingto capture the essence of this topic from an overall perspective. To achieve it, I have paid attention to a number of points that will help to place Aesthetics in historical terms in the context of 18th century Great Britain. In this vein, I have addressed certain pillars deemed (...)
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  15.  42
    English Literary Criticism: 17th and 18th Centuries.J. W. H. Atkins - 1953 - Journal of Aesthetics and Art Criticism 11 (4):421-422.
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  16.  95
    Eighteenth Century British Aesthetics.James Shelley - 2018 - Stanford Encyclopedia of Philosophy.
    18th-century British aesthetics addressed itself to a variety of questions: What is taste? What is beauty? Is there is a standard of taste and of beauty? What is the relation between the beauty of nature and that of artistic representation? What is the relation between one fine art and another? How ought the fine arts be ranked one against another? What is the nature of the sublime and ought it be ranked with the beautiful? What is the (...)
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  17.  51
    Debate on sublime in the end of 18th century: Burke, Kant, Schiller.Dragana Jeremic-Molnar & Aleksandar Molnar - 2009 - Filozofija I Društvo 20 (1):143-158.
    U clanku autori ispituju tri pozicije u estetickoj raspravi o uzvisenom koja se vodila u 18. veku - Edmunda Berka, Imanuela Kanta i Fridriha Silera. Oni takodje pokusavaju da rekonstruisu politicku pozadinu svake od ovih teorijskih pozicija: starorezimski konzervativizam, republikanski liberalizam i romanticarsku zudnju za 'trecim putem'. Najsofisticiraniju i najzreliju teoriju uzvisenog pronalaze u Silerovim estetickim delima, pogotovo u onima koja su usledila nakon njegovog razocarenja u Francusku revoluciju i u kojima su najtemeljnije razmatrani odnosi izmedju uzvisenog i paradoksa istorijskog (...)
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  18.  24
    On the Esthetics of Diderot.M. A. Dynnik - 1964 - Russian Studies in Philosophy 3 (3):48-53.
    By decision of the World Council of Peace, progressive mankind marked, on October 5, 1963, the 250th anniversary of the birth of an outstanding representative of the French Enlightenment, Denis Diderot. Diderot occupies an honored place in the history of world thought on esthetics, as one of the greatest theoreticians of realist art. The esthetic theory founded by Diderot, calling for the representation of nature, was directed against the feudal, theological world view and against the aristocratic art of the court. (...)
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  19.  18
    Art and Enlightenment: Scottish Aesthetics in the Eighteenth Century.Jonathan Friday (ed.) - 2004 - Imprint Academic.
    During the intellectual and cultural flowering of Scotland in the 18th century few subjects attracted as much interest among men of letters as aesthetics - the study of art from the subjective perspective of human experience. All of the great philosophers of the age - Hutcheson, Hume, Smith and Reid - addressed themselves to aesthetic questions. Their inquiries revolved around a cluster of issues - the nature of taste, beauty and the sublime, how qualitative differences operate upon (...)
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  20.  60
    Steinbeck: A Collection of Critical EssaysDocuments of 20th-Century ArtApollinaire on ArtArt of the Ancient World17th and 18th Century ArtWinckelmann Writings on ArtArt as Therapy with Children. [REVIEW]Marc Bornstein, Robert M. Davis, M. Jean, L. C. Breunig, H. A. Groenewegen-Frankfort, B. Ashmole, Julius S. Held, Donald Posner, David Irwing & Edith Kramer - 1972 - Journal of Aesthetics and Art Criticism 31 (1):135.
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  21.  41
    Beyond Autonomy in Eighteenth-Century British and German Aesthetics[REVIEW]Botond Csuka - 2023 - British Journal of Aesthetics 63 (4):611-615.
    The 18th-century emergence of aesthetics has been interpreted as a symptom of the entrance of a new image of man, individuality, a modern conception of subjectivity, a new mode of experience, as well as a new ideology or the modern concept of (fine) art into European consciousness. And even though these narratives all situate aesthetics within heteronomous contexts—from physiology and psychology to morality and politics, from social and economic history to belief and religion—one narrative came out (...)
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  22.  54
    On the aesthetic education of man.Friedrich Schiller - 1954 - Mineola, N.Y.: Dover Publications. Edited by Reginald Snell.
    A classic of 18th-century thought, Schiller’s treatise on the role of art in society ranks among German philosophy’s most profound works. An important contribution to the history of ideas, it employs a political analysis of contemporary society—and of the French Revolution, in particular—to define the relationship between beauty and art. Schiller’s proposal of art as fundamental to the development of society and the individual remains an influential concept, and this volume offers his philosophy’s clearest, most relevant expression. Translated (...)
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  23. The aesthetic stance - on the conditions and consequences of becoming a beholder.Maria Brincker - 2014 - In Alfonsina Scarinzi, Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Dordrecht: Springer. pp. 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...)
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  24.  1
    Political Aesthetics: Addison and Shaftesbury on Taste, Morals, and Society.Karl Axelsson - 2019 - London: Bloomsbury.
    Providing a gateway to a new history of modern aesthetics, this book challenges conventional views of how art's significance developed in society. -/- The 18th century is often said to have involved a radical transformation in the concept of art: from the understanding that it has a practical purpose to the modern belief that it is intrinsically valuable. By exploring the ground between these notions of art's function, Karl Axelsson reveals how scholars of culture made taste, morals (...)
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  25.  19
    Aesthetics as analysis of mind experience.Iva Draskic-Vicanovic - 2015 - Filozofija I Društvo 26 (3):617-628.
    The paper presents an at tempt to shed light on causes and circum stances which brought about foundation of aesthetics in 18th century as discipline which analyzes mind experience. Author recognizes key importance of 17th century epistemology for constitution of modern aesthetics, principally idea of subjectivity, subject-object relation problem and new method - philosophical introspection. Special place in modern aesthetics, according to author, deserves aesthetic theory of Francis Hutcheson who defines beauty as phenomenal quality (...)
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  26.  19
    The aesthetics of imperfection in music and the arts: spontaneity, flaws and the unfinished.Andy Hamilton & Lara Pearson (eds.) - 2020 - New York: Bloomsbury Academic.
    The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is (...)
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  27.  47
    Aesthetic Concerns, Philosophical Fabulations: The Importance of a 'New Aesthetic Paradigm'.Melanie Sehgal - 2018 - Substance 47 (1):112-129.
    Aesthetics” is not a concern that figures prominently in Isabelle Stengers’s work and it is not difficult to find the reasons why. Reading the discipline of aesthetics through a historical and systematic perspective derived from Stengers and Alfred North Whitehead, the invention of modern aesthetics as a philosophical discipline in the 18th century can be read as the flipside to “the invention of modern science” described by Stengers in her seminal book with just this title. (...)
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  28.  64
    Kant's Aesthetic Cognitivism: On the Value of Art.Mojca Kuplen - 2024 - London&New York: Bloomsbury Academic.
    Mojca Kuplen connects 18th-century German aesthetics to contemporary theories of self-knowledge in order to highlight the unique cognitive value of art. She does this through revisiting Kant's account of aesthetic ideas, and demonstrating how works of art can increase our understanding of abstract concepts whilst promoting self-knowledge. Addressing some of the most fundamental questions in contemporary aesthetics and philosophy of art, this study covers the value and importance of art, the relationship between art and beauty, the (...)
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  29.  32
    Aesthetics of Music: Musicological Perspectives.Stephen C. Downes (ed.) - 2014 - New York: Routledge.
    Aesthetics of Music: Musicological Approaches is an anthology of fourteen essays, each addressing a single key concept or pair of terms in the aesthetics of music, collectively serving as an authoritative work on musical aesthetics that remains as close to 'the music' as possible. Each essay includes musical examples from works in the 18th, 19th, and into the 20th century. Topics have been selected from amongst widely recognised central issues in musical aesthetics, as well (...)
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  30. Epicurus and Aesthetic Disinterestedness.Celkyte Aiste - 2017 - Mare Nostrum 7:56-74.
    ABSTRACT: Aesthetic disinterestedness is one of the central concepts in aesthetics, and Jerome Stolnitz, the most prominent theorist of disinterestedness in the 20th century, has claimed that (i) ancient thinkers engagement with this notion was cursory and undeveloped, and consequently, (ii) the emergence of disinterestedness in the 18th century marks the birth of aesthetics as a discipline. In this paper, I use the extant works of Epicurus to show that the ancient philosopher not only had (...)
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  31. Aesthetics in Motion. On György Szerdahely’s Dynamic Aesthetics.Botond Csuka - 2018 - In Anthropologische Ästhetik in Mitteleuropa (1750–1850). Anthropological Aesthetics in Central Europe (1750–1850). (Bochumer Quellen und Forschungen zum achtzehnten Jahrhundert, 9). Hannover, Németország: pp. 153-180.
    György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in (...)
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  32.  8
    The Age of Figurative Theo-humanism: The Beauty of God and Man in German Aesthetics of Painting and Sculpture (1754-1828).Franco Cirulli - 2015 - Cham: Imprint: Springer.
    This is a comprehensive, integrated account of eighteenth and early nineteenth century German figurative aesthetics. The author focuses on the theologically-minded discourse on the visual arts that unfolded in Germany, circa 1754-1828, to critique the assumption that German romanticism and idealism pursued a formalist worship of beauty and of unbridled artistic autonomy. This book foregrounds what the author terms an "Aesthetics of Figurative Theo humanism". It begins with the sculptural aesthetics of Johann Joachim Winckelmann and Gottfried (...)
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  33.  10
    The Dictionary of Eighteenth-century British Philosophers: A-J.John W. Yolton, William Yolton, Jean S. Yolton, John Valdimir Price, John Stephens, John W. Stephens & Andrew Pyle (eds.) - 1999 - Sterling, Va.: Burns & Oates.
    This is a comprehensive reference source on 18th-century authors writing in the English language about philosophical ideas and issues. It features authors taken from 1689 through to the mid-19th century, the period beginning with John Locke and ending with Dugald Stewart. The word philosophical is used in a wide, 18th-century sense. Therefore, the Dictionary includes epistemology, ethics, aesthetics, education, politics, rhetoric, science, medicine, biology, geology, chemistry and theology.
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  34.  37
    Balancing bioethics by sensing the aesthetic.Paul Macneill - 2017 - Bioethics 31 (8):631-643.
    This article is critical of “bioethics” as it is widely understood and taught, noting in particular an emphasis given to philosophical justification, reason and rationality. It is proposed that “balancing” bioethics be achieved by giving greater weight to practice and the aesthetic: defined in terms of sensory perception, emotion and feeling. Each of those three elements is elaborated as a non-cognitive capacity and, when taken together, comprise aesthetic sensitivity and responsiveness. This is to recognise the aesthetic as a productive element (...)
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  35. Reflections On One Idea of Collingwood’s Aesthetics.Ted Cohen - 1989 - The Monist 72 (4):581-585.
    I first read Collingwood about 25 years ago, when The Principles of Art was a staple in classes in the philosophy of art, along with books by Santayana, Dewey, and Croce. Since then, all these books have lost currency among American philosophers of art, and not only among those who are “analytic” philosophers. The wholesale abandonment of the history of the subject which was a feature of work in the philosophy of art during the 1960’s and 1970’s is not a (...)
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  36.  56
    A history of six ideas: an essay in aesthetics.Władysław Tatarkiewicz - 1980 - Hingham, MA: distribution for the U.S. and Canada, Kluwer Boston.
    The history of aesthetics, like the histories of other sciences, may be treated in a two-fold manner: as the history of the men who created the field of study, or as the history of the questions that have been raised and resolved in the course of its pursuit. The earlier History of Aesthetics (3 volumes, 1960-68, English-language edition 1970-74) by the author of the present book was a history of men, of writers and artists who in centuries past (...)
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  37.  19
    Literary Criticism versus Aesthetic.Elisabeth Décultot - 2023 - Deutsche Vierteljahrsschrift für Literaturwissenschaft Und Geistesgeschichte 97 (1):41-51.
    The topical focus of the following inquiry is the critical engagement of French scholars and writers ca. 1800 – for example, Madame de Staël or Charles de Villers – with German philosophical aesthetics. With regard to this case study, the changing relationship of literary criticism and aesthetics within different national contexts can be brought into view. In France, the concept »esthétique«, which was imported as a translation of the German neologism »Ästhetik« current since the publication of Baumgarten’s work, (...)
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  38.  28
    The Aesthetic Theory of Gernot Böhme and Gestalt Phenomenology.Serena Cataruzza - 2018 - Dialogue and Universalism 28 (4):167-176.
    Gernot Böhme’s original proposal regarding an aesthetic as a philosophic theory of perceptual knowledge could, in our opinion, be usefully compared with certain aspects, historical-theoretical and methodological, of Gestalt psychology. From an historical point of view there is the attention commonly paid to the work of the 18th-century philosopher, Alexander Gottlieb Baumgarten, considered as an important precursor of the study of sensitive knowledge, while the subsequent basic themes of the perceptual-cognitive approach, of the expressive qualities, of the distinction (...)
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  39.  37
    Modernism and “Aesthetic Experience”: Art, Aesthetics – and the Role of Modernism.Kyndrup Morten - 2016 - Nordic Journal of Aesthetics 25 (51).
    The role and influence of Modernism is the focus of this article. Modernism’s lasting and unforeseeable influence is due to its key importance to the development of the general conditions of art within modernity. Along with Modernism, the implications of the modern system of art became visible for real. Modernism produced the necessity of rethinking the distinction between “art” and “the aesthetic,” based on their original foundations in the 18th century, respectively – a call for a “divorce” after (...)
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  40.  73
    Aesthetics as a Normative Science.Gordon Graham - 2014 - Royal Institute of Philosophy Supplement 75:249-264.
    It is well known that we owe the term ‘aesthetics’ in its philosophical sense to the 18th century German philosopher Alexander Baumgarten. The eighteenth century's interest in aesthetics, however, pre-dated the invention of the term. In 1725, Francis Hutcheson published an Inquiry into the Original of Our Idea of Beauty and Virtue. This may be said to be the first sustained and significant work in philosophical aesthetics as we now know it. Hutcheson's volume preceded (...)
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  41.  99
    Temporalization as Transcendental Aesthetics - Avant-Garde, Modern, Contemporary.Peter Osborne - 2013 - Nordic Journal of Aesthetics 23 (44-45).
    Reflections on the relationship of aesthetics to politics tend to circle, almost compulsively, around a relatively stable set of conceptual oppositions, inherited from German philosophies of the late 18th century. This essay proposes an expansion of the theoretical terms of the debate by extending the field of transcendental aesthetics into the domain of historical temporalization. Fundamental art-historical categories may thereby be incorporated, philosophically transformed, into ‘aesthetics’ as forms of historical temporalization: avant-garde, modern, contemporary. The essay (...)
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  42.  14
    Skovorodynstvo and skovorodyntsi as an Alternative Sociocultural Trend (the End of the 18th and the First Half of the 19th Centuries). [REVIEW]Volodymyr Okarynskyi - 2022 - Kyiv-Mohyla Humanities Journal 9:148-164.
    The article examines the skovorodynstvo as the socio-cultural trend of the educated class of followers of philosophical views and, most of all, the lifestyle of Ukrainian travelling philosopher Hryhorii Skovoroda (1722–1794). Common to the skovorodyntsi was the fascination with the person of Skovoroda. The skovorodynstvo was in agreement with some other nonconformist trends of that time, had a connection with the Ukrainian national movement. Thus, is it a coincidence that the initiators of the Ukrainian cultural and national revival such as (...)
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  43. Silencing Theodicy with Enthusiasm: Aesthetic Experience as a Response to the Problem of Evil in Shaftesbury, Annie Dillard, and the Book of Job.John McAteer - 2016 - Heythrop Journal 57 (5):788-795.
    The problem of evil is not only a logical problem about God's goodness but also an existential problem about the sense of God's presence, which the Biblical book of Job conceives as a problem of aesthetic experience. Thus, just as theism can be grounded in religious experience, atheism can be grounded in experience of evil. This phenomenon is illustrated by two contrasting literary descriptions of aesthetic experience by Jean-Paul Sartre and Annie Dillard. I illuminate both of these literary texts with (...)
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  44.  43
    The Modulations of Ethics in an Aesthetic Tonality, from the Perspective of Friedrich Schiller.Carmen Cozma - 2006 - Cultura 3 (1):19-26.
    A challenge to scrutinize the intimate unity of the aesthetical and the ethical levels of the human beingness in Friedrich Schiller's theoretical writings makes the present essay's content. We approach a basic idea unfolding the creed of the eminent artist and philosopher in the great power of 'beauty' to activate and to enrich the value of 'humanness'. By articulating a conceptual apparatus modulated on the sensitive-rational becoming of human being, our attempt focuses on the meaningfulness of the 'moral living' through (...)
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  45.  2
    Arthur Schopenhauer: Phenomenology of the Body and Aesthetics.Aleksey Sidorov - 2024 - HORIZON. Studies in Phenomenology 13 (2):452-474.
    The main thesis of this article is that Arthur Schopenhauer was the first to formulate clearly the problem of corporeality as an essential problem of philosophical thought. Schopenhauer can be understood as a philosopher and even as a phenomenologist of corporeality. For the first time in the European thought he explicitly describes the relation between consciousness and the body and offers a phenomenological description of the experience of embodiment, bringing his thought closer to M. Merleau-Ponty’s future phenomenology. The article considers (...)
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  46.  20
    Beauty and Judgement in German Aesthetics.Axia Marinescu - 2014 - Human and Social Studies 3 (1):124-138.
    The birth of aesthetics in the 18th century marks the passage from beauty to fine taste and the emergence of art as a separate sphere of culture. Indeed, before the Renaissance, art is not viewed separately from handcraft and the craftsman does not receive the distinctive status of a specialist of beautiful, an artist. This is due to two sets of reasons: first, the transformation of beauty, which becomes little by little a matter of taste and is (...)
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  47.  19
    Systematic Account of Kant's Aesthetics (in Czechoslovakian).Vlastimil Zatka - 1994 - Filosoficky Casopis 42 (3):447-462.
    The study deals with Kant's theory of aesthetics, which is mainly exposed in his "Critique of Judgment". This theory represents one of the most important interpretations of the problem of aesthetic being and is one of the best examples of the Cartesian account of the philosophical foundations of aesthetics. In the submitted study it is emphasized that Kant in his theory relied upon previous aesthetic theories of the 18th century, especially those of the German and English (...)
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  48.  19
    Minutes of the Annual General Meeting 2023.Cornelis de Waal, Richard Kenneth Atkins, André De Tienne & Elizabeth Cooke - 2024 - Transactions of the Charles S. Peirce Society 60 (1):118-128.
    In lieu of an abstract, here is a brief excerpt of the content:Minutes of the Annual General Meeting 2023Cornelis de Waal, Editor-in-Chief, Richard Kenneth Atkins, André De Tienne, Director and General Editor, and Elizabeth Cooke[as approved on January 17, 2024]The Annual General Meeting of the Charles S. Peirce Society was held in conjunction with the Eastern Division Meeting of the APA on January 5, 2023, at the Sheraton Le Centre, Montréal, Quebec. Rosa Maria Mayorga chaired the meeting and called it (...)
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  49.  61
    Is Etiquette Relevant to Medical Ethics? Ethics and Aesthetics in the Works of John Gregory (1724–1773).Giovanni Maio - 1999 - Medicine, Health Care and Philosophy 2 (2):181-187.
    The writings of the Scottish physician and philosopher John Gregory play an important role in the modern codification of medical ethics. It is therefore appropriate to use his work as a historical example in approaching the question how elements of aesthetics were incorporated in 18th century medical ethics. The concept of a Gentleman is pivotal to the entire medical ethics of John Gregory as it provides him with the ethical source of the duty to patients. Gregory makes (...)
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    Kant, intoxicated: the aesthetics of drunkenness, between moral duty and “active play”.Matthew Perkins-McVey - 2022 - History and Philosophy of the Life Sciences 44 (4):1-13.
    This article examines Kant’s overlooked concept of “active play,” as opposed to “free play,” in connection with the influence of the Brunonian system of medicine, both of which, I propose, are central to understanding the broader significance of intoxication in Kant’s post-1795 work. Beginning with a discussion of the late-18th century German reception of Brunonian theory, the idea of vital stimulus, and their importance for Kant, I assess the distinction drawn between gluttony and intoxication in The Metaphysics of (...)
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