We make choices about our own appearance and evaluate others' choices – every day. These choices are meaningful for us as individuals and as members of communities. But many features of personal appearance are due to luck, and many cultural beauty standards make some groups and individuals worse off (this is called “lookism”). So, how are we to square these two facets of personal appearance? And how are we to evaluate agency in the context of personal beauty? (...) I identify three ways of responding to these questions: beauty advo- cacy, beauty skepticism, and beauty revisionism. Advocates connect an honorific sense of beauty with personal charac- ter. Skeptics focus on beauty standards, and primarily offer a social critique of beauty standards. Some skeptics suggest embracing other aesthetic ideals – even ugliness. Revision- ists critique beauty standards, but retain an honorific sense of beauty. Each position offers tools to evaluate personal agency as aesthetic agency, whether first-personally or through our appreciation of others' appearance. (shrink)

Why do physicians who've taken the Hippocratic Oath willingly cut into seemingly healthy patients? How do you measure the success of surgery aimed at making someone happier by altering his or her body? Sander L. Gilman explores such questions in Creating Beauty to Cure the Soul, a cultural history of the connections between beauty of body and happiness of mind. Following these themes through an impressive range of historical moments and players, Gilman traces how aesthetic alterations of the body have (...) been used to "cure" dissatisfied states of mind. In his exploration of the striking parallels between the development of cosmetic surgery and the field of psychiatry, Gilman entertains an array of philosophical and psychological questions that underlie the more practical decisions rountinely made by doctors and potential patients considering these types of surgery. While surveying and incorporating the relevant theories of Sigmund Freud, Alfred Adler, Karl Menninger, Paul Schilder, contemporary feminist critics, and others, Gilman considers the highly unstable nature of cultural notions of health, happiness, and beauty. He reveals how ideas of race and gender structured early understandings of aesthetic surgery in discussions of both the "abnormality" of the Jewish nose and the historical requirement that healthy and virtuous females look "normal," thereby enabling them to achieve invisibility. Reflecting upon historically widespread prejudices, Gilman describes the persecutions, harrassment, attacks, and even murders that continue to result from bodily difference and he encourages readers to question the cultural assumptions that underlie the increasing acceptability of this surgical form of psychotherapy. Synthesizing a vast body of related literature and containing a comprehensive bibliography, Creating Beauty to Cure the Soul will appeal to a broad audience, including those interested in the histories of medicine and psychiatry, and in philosophy, cultural studies, Jewish cultural studies, and race and ethnicity. (shrink)

This paper discusses two debated questions about how best to interpret the contribution to the Symposium that Socrates pretends to derive from Diotima: Within the Lesser Mysteries, is the erōs that is being defined and characterized, with appeal to the notion of “generation in beauty”, a generic erōs that is equivalent to Socratic desire in general, or a specific erōs that is erotic in our sense? Within the Greater Mysteries, is interpersonal erōs maintained, or supplanted? I find that neither answer (...) to unproblematic, but argue that either can be reconciled with the text, and suggest that both leave open the really interesting questions. I then, in answer to, concede that there are radical shifts of focus, but conclude that it is most likely that interpersonal erōs has a continuing role in, eventually, making the lover worthy of “becoming dear to the gods and, if any man can, immortal himself also”. Here I appeal especially to the phrase “ungrudging philosophy”, taking it to signify an activity that is not kept to oneself, but shared with another. (shrink)

Personal appearance and physical beauty are becoming increasingly important in our societies and, as a consequence, enter into the realm of medicine and health care. Adequate and just health care policies call for an understanding of this trend. The core question to be addressed concerns the very idea of beauty. In the following, a conceptual clarification is given in terms of beauty's meaning, value and function (i.e. beauty that is used instrumentally, and beauty that is attained). Furthermore, some relevant (...) distinctions are drawn between physical and artistic beauty, and physical beauty in a human sense. The core idea for this is formed by a Kantian notion of the beauty concept. It is argued that beauty judgements should be understood as relative to persons and their contexts. Physical beauty should be taken seriously when it is understood in this deeper sense of being related to the shaping of a person's identity. (shrink)

This article outlines the following concepts: beauty in a philosophical sense: why we respect persons, creation, the environment, even animals that externally present as ugly, noting their magnificent structure, their survival apparatus; why we are asked to look for integrity beyond the external and seek and value internal beauty in others and in the creation, leading to the theological question: what role does beauty play that so delights us in beautiful persons, beautiful creatures, and objects in forming our moral life?

The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of aesthetic qualities, (...) I examine whether there are really beautiful and ugly persons in the world. I will criticize the way analytic philosophers judge people and art from an aesthetic perspective. If there are no aesthetic qualities in the world, nobody can judge someone beautiful or ugly without oppression. Aesthetic judgement is exercise of power. (shrink)

This book shows how every child is beautiful in so many ways, and celebrates the beauty in everyday life.

This chapter contains sections titled: What Are Aesthetic Objects? Lines and Routes Preference and Personal Taste Is Proprioception an Aesthetic Sense? Beautiful Movements or Beautiful Routes? Summary Notes.

To what extent does dance contribute to an ideal of beauty that can enrich human quality of life? To what extent are standards of beauty predicated on an ideal human body that has no disability? In this chapter, we show how conceptions of proportionality, perfection, and ethereality from the Ancient Greeks through the 19th century can still be seen today in some kinds of dance, particularly in ballet. Disability studies and disability-inclusive dance companies, however, have started to change this. The (...) disabled person can be beautiful, we will show, in dance and in life, under a disability aesthetics that follows Edmund Burke (1730-1797) and that suggests an alternative standard of beauty, which we call “beauty-in-experience,” where beauty is perceived in the qualitative experience of abled and disabled dancers moving together in dance. (shrink)

Today, many people have realized that the climate change and biodiversity loss issues lie in how and to what extent humans consume products for their lives in the Anthropocene era. Consumerism has pushed natural resource exploitation to its peak, and the depletion of resources is becoming increasingly prevalent. The beauty and personal care industry has a large market and high profits, especially in the high-income segment. However, this advantage also carries the risk of facing scrutiny, investigations, and criticism from (...) civil society organizations, environmental activists, and consumers. More than anyone else, the industry is vulnerable to the perils of unfavourable societal assessments, particularly the repercussions of consumer-led boycott actions. In this discourse, we suggest that, given the current circumstances, it is imperative for multinational beauty corporations to take a proactive role in allocating resources towards the development of sustainable agriculture practices. This entails not only advocating for the widespread adoption of environmentally conscious production methods but also dedicating efforts towards conducting research and innovation in the area of nature-friendly manufacturing techniques. Doing so will help demonstrate their commitment to the environment and actively provide convincing evidence to consumers of their social responsibility through emission reduction and biodiversity conservation activities. (shrink)

This paper argues that people commonly make moral and aesthetic errors regarding personal beauty. One moral error involves treating people as if their superficial physical beauty is a key source of their value. This practice immorally objectifies people by treating them as aesthetic objects, such as paintings or sunsets, rather than persons. Physical personal beauty is overrated. And even to the extent to which it may be appropriate to appreciate personal beauty, people still commonly make an aesthetic (...) error by treating people as if their aesthetic value derives primarily from how their faces and bodies look. We thereby overlook much of their aesthetic value, including their aesthetic agency—which involves the aesthetic choices that shape people’s appearance and conduct, as well as their inner selves and character. Moreover, tending to a person’s fuller aesthetic value may mitigate harmful consequences of lookism. (shrink)

Many people now recognize that the challenges of climate change and biodiversity loss are rooted in how and to what extent humans consume goods in the Anthropocene era. Consumerism has driven natural resource exploitation to its peak, and resource depletion is becoming more common. The beauty and personal care industry has an enormous market and substantial profitability, particularly in the high-income category. However, this benefit comes with the risk of being scrutinized, investigated, and criticized by civil society groups, environmental (...) activists, and consumers. More than anyone else, the industry is aware of the risks of negative society appraisals, notably the consequences of consumer-led boycott activities. In this paper, we suggest that, given the current situation, global beauty firms need to play a proactive role in directing resources toward the development of sustainable uses of biodiversity and agriculture methods. This includes advocating for the wider use of environmentally conscious sourcing of raw materials, avoiding excessive and wasteful packaging, and devoting resources to research and innovation in environmentally friendly manufacturing procedures. The proactiveness would allow them to demonstrate their environmental commitment and actively give customers persuasive evidence of their social responsibility through emission reduction and biodiversity protection actions, gradually building an environmental-healing culture in the beauty industry. (shrink)

I shall discuss several related issues about beauty. These are: (1) The place of beauty among other aesthetic properties. (2) The general principle of aesthetic supervenience. (3) The problem of aesthetic relevance. (4) The distinction between free and dependent beauty. (5) The primacy of our appreciation of free beauty over our appreciation of dependent beauty. (6) Personal beauty as a species of beauty. (7) The metaphysics of beauty.

One of the reasons for the disappearance of beauty in the artistic ideology of the late twentieth century has been the seeming similarity of beauty to certain kinds of kitsch. Beauty has also been associated with flawlessness and with glamour. I will content that the flawless and the glamorous are actually categories of kitsch, and that the dominance of these images in marketing has contributed to our societal tendency to confuse them with beauty. The quests for flawlessness and glamour are (...) both self-sabotaging, a premise on which the marketing of beauty depends. These false paradigms of beauty have ob cured the fact that human beauty manifests an ideal of balance and health that is neither self-conscious nor a consequence of deliberate effort. I will defend the relevance of this ideal to beauty to our personal and cultural well-being. (shrink)

This book considers the Chinese conception of beauty from a historical perspective with regard to its significant relation to human personality and human existence. It examines the etymological implications of the pictographic character mei, the totemic symbolism of beauty, the ferocious beauty of the bronzeware. Further on, it proceeds to look into the conceptual progression of beauty in such main schools of thought as Confucianism, Daoism and Chan Buddhism. Then, it goes on to illustrate through art and literature the leading (...) principles of equilibriumharmony, spontaneous naturalness, subtle void and synthetic possibilities. It also offers a discussion of modern change and transcultural creation conducted with particular reference to the theory of the poetic state par excellence and that of art as sedimentation. (shrink)

Beauty is both a history of art, and a history of aesthetics. Eco draws on the histories of both art and aesthetics to define the ideas of beauty that have informed sensibilities from the classical world to modern times. Taking in painting, sculpture, architecture, film, photography, the decorative arts, novels and poems, it offers a rich panorama of this huge subject. It traces the philosophy of aesthetics through history and examines some of the many treatises that have sought to define (...) it. Eco writes about Botticelli and Michelangelo, but also about the way fashion of the 1960s owes much to ancient Egyptian dress, or the fact that ancient Roman and eighteenth-century hairstyles have much in common. Bespreking van de Nederlandse vertaling in: Boekman. 17(2005)65(winter. 106-107). (shrink)

Theories of beauty are often divided into the objective and the subjective. I am doubtful whether a rigid distinction between the two can be maintained. It is difficult for an objective theory to assert that the impression of beauty is received quite passively, without any reaction or co-operation on the part of the subject, which is likely to be similar in the various cases.

Contemporary philosophical attitudes toward beauty are hard to reconcile with its importance in the history of philosophy. Philosophers used to allow it a starring role in their theories of autonomy, morality, or the good life. But today, if beauty is discussed at all, it is often explicitly denied any such importance. This is due, in part, to the thought that beauty is the object of “disinterested pleasure”. In this paper I clarify the notion of disinterest and develop two general strategies (...) for resisting the emphasis on it, in the hopes of getting a clearer view of beauty’s significance. I present and discuss several literary depictions of the encounter with beauty that motivate both strategies. These depictions illustrate the ways in which aesthetic experience can be personally transformative. I argue that they present difficulties for disinterest theories and suggest we abandon the concept of disinterest to focus instead on the special kind of interest beauty fuels. I propose a closer look at the Platonic thought that beauty is the object of love. (shrink)

The human person is a truth seeker, and one of the most compelling ways human beings pursue truth is through the arts. In Beauty and Imitation: A Philosophical Reflection on the Arts, Daniel McInerny argues for an understanding of art as a form of inquiry into truth that proceeds by way of sensible beauty. Drawing upon the thought of Aristotle and St. Thomas Aquinas, McInerny argues for the unfashionable yet philosophically compelling view that art is essentially "mimetic," imitative of human (...) action. But what does it mean for art to imitate human action? It means that art imitates the way human beings by nature quest for fulfillment, or happiness. In questing for fulfillment, human life takes the form of a story, and so the arts--all the arts, from painting to music, from fiction to film--are storytelling arts whose beauty reveals the truth about human happiness. The first part of the book features a renewed defense of the ancient Aristotelian claim that art is mimetic and that its imitation of the human story takes the form of a moral argument. The second part shows how audiences are transformed by the moral arguments the mimetic arts make, and the third concludes with a guided tour of the mimetic arts, where specific arts are considered in light of the Aristotelian and Thomistic principles advanced earlier. (shrink)

This thought-provoking book examines the science behind human attractiveness—the ratios, proportions, and other factors that to a large extent dictate what we find "beautiful." It's said that "beauty is in the eye of the beholder," but recent scientific research suggests that human attractiveness is much more objective than we once thought, deeply rooted in our biology and evolutionary history. For instance, facial symmetry is considered extremely attractive because it indicates good health and nutrition during the formative developmental years. This book (...) explores these insights. Part I of The Biology of Beauty: The Science behind Human Attractiveness takes a closer look at what traits we find the most alluring and why. It discusses why attractiveness is important from an evolutionary standpoint and the advantages (and disadvantages) of being attractive. In addition to exploring these beauty "universals," it examines how beauty ideals can be shaped by factors such as culture, religion, and the media. Part II provides an in-depth analysis of individual features that contribute to attractiveness, offering scientific explanations for our preferences. The book also includes a collection of insightful sidebars that highlight beauty ideals in different parts of the world and at other times in history. (shrink)

The Sleeping Beauty paradox in epistemology and the many-worlds interpretation of quantum mechanics both raise problems concerning subjective probability assignments. Furthermore, there are striking parallels between the two cases; in both cases personal experience has a branching structure, and in both cases the agent loses herself among the branches. However, the treatment of probability is very different in the two cases, for no good reason that I can see. Suppose, then, that we adopt the same treatment of probability in (...) each case. Then the dominant ‘thirder’ solution to the Sleeping Beauty paradox becomes incompatible with the tenability of the many-worlds interpretation. (shrink)

The presence of an aesthetic judgment in an anthropological, scientific study may seem incongruous. One would think that the human body should be approached only in terms of ‘objective’ criteria of functionality and measurable proportions. However, to our surprise, two adjectives keep coming up in Buffon’s description of the human body in his Histoire naturelle de l’Homme: ‘beautiful’ and ‘ugly’. To be sure, it is possible to determine that a person is beautiful through measurements and observations of bodily and facial (...) symmetry, but most often, these proportions are not enough to explain why we find a person beautiful. How does Buffon think about beauty when he writes the Natural History of Man? Does he understand it as a classificatory tool based on an objective system of measurement, or does he use his personal preference? On what criteria does he judge the physical aspect of the varieties in the human species? (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)

Alexander Nehamas calls beauty a ‘promise of happiness’ and claims that it is an object of love. While this approach appealingly places beauty at the center of both artistic passion and everyday life, it also renders it riskily personal. This discussion raises two main questions to Nehamas. The first question regards the role of happiness in the concept of beauty, for many beautiful artworks seem to acknowledge the inevitability of sorrow rather than its opposite. The second question concerns how (...) beauty may be both personal and grounded in factors sufficiently outside the self to safeguard it against the instability of individual preferences. To explore the latter issue, Nehamas's ideas are compared to those of another Platonist, Iris Murdoch. (shrink)

The cornerstone of the world view of the ancient Slavs is the sensation of the beauty and sanctity of the world and life. They considered the whole universe as a temple and therefore did not build the temples themselves, but revered the sacred forests, rivers, mountains. Hence their desire for conciliarity, that is, for the spiritual unification of people and nature. But to unite the nations only beauty, this international language, understandable to all is capable. Beauty is our true creator. (...) It reveals the inner essence of man. But without spirituality, it's impossible even to understand beauty. Therefore, in a person from childhood it is necessary to develop spirituality, so that he understands the basis, meaning and purpose of life, realized the spiritual roots of his people. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Beautiful Soul:From Hegel to BeckettDrew Milne (bio)The "beautiful soul," lacking an actual existence, entangled in the contradiction between its pure self and the necessity of that self to externalize itself and change itself into an actual existence, and dwelling in the immediacy of this firmly held antithesis—an immediacy which alone is the middle term reconciling the antithesis, which has been intensified to its pure abstraction, and is pure (...) being or empty nothingness—this "beautiful soul," then, being conscious of this contradiction in its unreconciled immediacy, is disordered to the point of madness, wastes itself in yearning and pines away in consumption.—G. W. F. Hegel, Phenomenology of SpiritThe figure of the beautiful soul marks out a limit of representation. Its persistence is that of a literary fiction which cannot be actualized, but whose imaginative lure is no less powerful for being so resistant to embodiment. The beautiful soul emerges in a shift from philosophical reflections on moral beauty into the romantic novel, but for Robert E. Norton, the history of the beautiful soul is brought to a close by Hegel [139]. Nevertheless, the way this figure stands between philosophy and literature, and between moral agency and the literary imagination, casts shadows over contemporary thought. Unreconciled immediacy, disordered by consciousness of its contradiction and proximity to pure abstraction, becomes the sign of modern art, perhaps most explicitly in the writings of Samuel Beckett. In The Broken Middle, Gillian Rose projects the beautiful soul out of Hegel and Goethe into a speculative account of modern thought's ethical equivocations. For Allen Speight, Hegel's recourse to the awkward literary and novelistic status of the beautiful soul reveals how "inescapable questions discernible in the products of modern literary artists are ones that concern the account we give of our freedom as modern agents" [135]. This essay seeks to unravel some of the contemporary relevance of the beautiful soul, exploring the instability of this figure as a mediation between philosophy and literature, in particular as a tension in the interpretation of Hegel's Phenomenology of Spirit.The difficulties posed by the beautiful soul for interpreting Hegel can be gleaned from Terry Pinkard's impressively lucid survey German Philosophy, 1760-1860. Pinkard notes how Hegel's discussion of the beautiful soul in the Phenomenology of Spirit "makes oblique reference to Goethe, Friedrich Schlegel, Fichte, Fries, Novalis, perhaps Rousseau, and maybe even Hölderlin" [240n19] before ascribing centrality in Hegel's discussion to Jacobi's novel Waldemar. Oblique reference folds into a structure whose indeterminacy concerns both the freedom claimed by literary representations of the beautiful soul, and the inability of this freedom to amount to more than a confession of conceptual paralysis or impotence. The beautiful soul proves resistant to interpretation, a literary-philosophical compound that destabilizes conventions of referentiality. The beautiful soul threatens to dissolve philosophy from the perspective of an inward delicacy of moral feeling, claiming [End Page 63] [Begin Page 65] the authenticity of a subjectivity that will do no wrong and knows no other as an object on which to act. Philosophical interpretations are often too brusque with the reflexive irony through which the beautiful soul is represented, or insufficiently literal-minded to capture its content as form. In turn, the self-critical claims of literary representation often dissolve into an ironic indifference to determinate consequences.The beautiful soul, however, can hardly be said to have existed outside its representation in writing. It recurs in manifold guises more as an aspiration to be, or appear, morally sensitive but incapable of action. Donald Phillip Verene sketches its background in the Romantic movement but suggests that: "The beautiful soul is not difficult to understand, as Hegel sketches it in the several pages he devotes to it. We are familiar in ordinary experience with types of persons that approximate to the stance of the beautiful soul, that is, if we keep polite company and associate from time to time with delicate people" [100-01]. Anyone who has spent time with aesthetes or poets who claim a delicacy of moral insight without feeling the need of justification or labor to actualize their insights knows the ills this shape of... (shrink)

This paper argues that Kant 's account of the "ideal of beauty " in paragraph 17 of the Critique of Judgment is not only a plausible account of one kind of beauty, but also that it can address some of our moral qualms concerning the aesthetic evaluation of persons, including our psychological propensity to take a person's beauty to represent her moral character.

The ‘aesthetic theory of virtue’ or ATV, is the thesis, partly inspired by Thomas Reid, that virtue coincides with beauty of soul and vice with ugliness of soul. The basic idea of ATV is that for a person to be virtuous is for his soul to have certain aesthetic properties, which are necessary and sufficient conditions for personal goodness. The relation between morally aesthetic properties and moral attributes is one of supervenience of the former upon the latter. McGinn cites (...) the film Brief Encounter to illustrate the concept of the beautiful soul, and he also draws upon Nabokov's discussion of the aesthetic in Lolita. A morally bad character, McGinn argues, cannot have a beautiful soul, nor can a morally good character have an ugly soul. (shrink)

When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral beauty (...) in addition to those that have tended to be focused on to date: one which is connected to imagining a deep location for the goodness concerned, and another which is connected to imagining that the goodness stems from capacities which are essential to the person. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beauty, Transcendence, and the Inclusive Hierarchy of Creation1Thomas Joseph White, O.P.Interpreters of Thomas Aquinas have long argued about whether he holds that beauty is a “transcendental,” a feature of reality coextensive with all that exists, like unity, goodness, and truthfulness.2 In the first part of this article, I will argue that Aquinas can [End Page 1215] be read to affirm in an implicit way that beauty is a transcendental. (...) In the second part, I will consider what it might mean from a Thomistic point of view to speak of a transcendent divine beauty, given Aquinas’s metaphysical commitments, particularly with respect to his doctrine of divine simplicity. In the final part, I will treat the question of how the beauty of the creation both manifests and conceals divine beauty.Beauty as a Transcendental Feature of RealityAquinas does not list beauty as a transcendental term in texts on transcendental notions. Perhaps, then, one should simply exclude it from a responsible account of his teaching on this subject. However, at least two well-known texts should give us reason to pause before reaching such a conclusion. One is found in his Commentary on Dionysius’ Divine Names, chapter 4, lectio 5. The other is in his discussion of the beauty of the eternal Son of God in a discussion of the Holy Trinity in the Summa theologiae I, q. 39, a. 8.In the first of these texts, Aquinas is commenting on Dionysius. The extended text is analytically dense. Aquinas is discussing ways in which one might say that God is beautiful and in what ways one might not say so. I will return to his topic below. Here, however, it is pertinent to consider Aquinas’s discussion of the presence of beauty in all that exists. He makes six main points.3 First, all beauty comes [End Page 1216] from God insofar as God is the cause of all that exists. Second, he gives a first definition of beauty: beauty can be defined ontologically as the splendor (claritas) that results from form; everything has a formal determination of some kind insofar as it has existence (esse); therefore, insofar as anything exists (and has some formal ontological content) it has some degree of beauty. Third, the splendor of the form in created things is a participation in the divine splendor from which it originates. The divine nature is the transcendent exemplar of beauty in diverse finite created realities. Fourth, then (and perhaps most importantly), “ex divina pulchritudine esse omnium derivatur”: literally, the existence of everything originates from divine beauty. Fifth, a second definition of beauty is considered: beauty can be defined ontologically as a property of being that emerges from proportion or harmony (consonantia). For example, authentic relationships of personal friendship imply spiritual harmony or concord and are beautiful and noble in this respect. Sixth, then, the concord or beautiful harmonies we find in the created order are expressive of the wisdom of God, who is the author of creation.Evidently, if the existence of everything derives from divine beauty, and if everything that has existence is in some way beautiful by virtue of its intrinsic form, then it would seem to follow logically that beauty, for Aquinas, is a characteristic of being that is coextensive with all that exists. We see a similar idea expressed in the aforementioned passage of ST. Here, however, Aquinas gives a more synthetic definition of beauty in things that combines both the definitions found in our previous discussion, claritas and proportio, but it also adds a third, integritas: ontological integrity or wholeness.Species or beauty has a likeness to the property of the Son. For beauty includes three conditions, “integrity” or “perfection,” [End Page 1217] since those things which are impaired are by the very fact ugly; due “proportion” or “harmony”; and lastly, “brightness” or “clarity,” whence things are called beautiful which have a bright color.4The implication of this point of view is readily apparent. God is essentially beautiful, and God has created all that exists in light of the eternal Word and Wisdom of God, who is the Son. Consequently, all that exists and that... (shrink)

Much has been written about the presumed interaction between moral and aesthetic properties in art, about whether moral flaws in a work or its artist can compromise the work’s aesthetic value. In the philosophy of sport, similarly, the beauty of an athlete’s performance may be undermined by moral flaws in the performance itself (e.g., in a case of cheating). Yet to be addressed, however, is a potential analogy between artists and athletes where personal moral flaws failing to register in (...) the work or performance may nonetheless compromise aesthetic response. Along with tracing the conceptual terrain in these debates and drawing on earlier work endorsing pluralism in such matters, I will argue that an athlete’s moral flaws may indeed compromise the aesthetic appeal of their performances, even where such flaws stand apart from those performances. In contrast to creative artists whose presence is immaterial to accessing their work, in the case of performing artists and athletes—since they themselves are the vehicles of their work—it is, and ought to be, harder to avoid having one’s moral response to the person diminish one’s aesthetic response to the work. We want athletes to be moral exemplars, I propose, less because they serve as role models and more because we want to preserve unspoiled the aesthetic rewards they provide. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.4 (2005) 301-305 [Access article in PDF] The Beauty of Psychotherapy R. D. Hinshelwood Keywords awe, psychotherapy, representation, self-esteem The Enlightenment was devoted to clear uncontaminated reason; its success has given us the terrific achievements of science and technology. However, it has bequeathed problems too. Untrammeled reason has led to the devaluing and exclusion of emotions. Emotions are irrational—self-deception, akrasia, and so on. They were (...) a problem for the eighteenth-century philosopher Kant and right through to the modern therapist Aaron Beck. Callender rightly looks around the edges of rationalist thought to see what can be said about the emotional and subjective side of mankind. He argues that there is more to the human mind than cognition. Something has been left out. What can be found to fill the gap?Callender has searched for the missing link that might complete our view of human nature. And he came back with aesthetics. Meaning The Enlightenment failing is writ large for therapists who are confronted with people who feel things. So we need to ask what place the emotions have in understanding the nature of man? It is not a hypothetical question, but a very practical one for a therapist. Emotions, Callender says, and most people would agree with him, are what gives meaning to life, a sense of purpose in living, even an ill-defined or delusional purpose.He presents Kant's description of aesthetics. Aesthetic judgements have a number of features, the most enigmatic and perhaps profound is a "purposiveness without purpose." A work of art, say a portrait, may have a purpose insofar as it represents a person for his aggrandizement or for his descendents through many generations, but the aesthetic quality does not come from that purpose. The aesthetic purpose involves a different set of judgements. They are about the painting as a piece of art in itself. If it is possible to compare this kind of aesthetic judgement with a judgement of a person's life, then I find myself reminded of Wollheim's definition of a person: The simplest way of putting the matter, which is not to be taken as a metaphysical claim, is this: There are persons, they exist; persons lead lives; and as a result, in consequence—in consequence that is, of the way they do it—there are lives, of which those who lead them may, for instance, be proud, or feel ashamed. So there is a thing, and there is a process, and there is a product. (Wollheim 1984, 2) Although many things do not lead lives, we do. And our lives have a process and a product. Like an aesthetic product, our lives have a sense of emotional meaning, without it having a clear purpose.Aesthetic judgements are therefore of a particular and somewhat peculiar kind. They judges talent for producing "that for which no determinate [End Page 301] rules can be given," as the paper quotes Kant. Other kinds of judgements do have determinate rules. First are empirical judgements for getting practical things done; and moral judgements for assessing ethical good from bad. Aesthetic beauty does not have clear rules, although many systems of rules have been proposed starting with the rules of perspective as they were laid out by renaissance painters, through to systems of color, such as that proposed by Paul Klee, once color was correlated with electromagnetic wavelengths. However, artists have always kept one jump ahead and evaded imprisonment in codified rules. So too it is with leading a life, perhaps. The really creative life is not lead according to rules. The art of life is to live meaningfully without simply running along tramlines. Although moral conduct and the practicalities of life remain significant, perhaps leading a life implies simply a "flare for living." Representation Of these three kinds of judgements that a mind makes, two do have sets of rules. Only one based on rationality, empirical evidence, and reason. Reason judges what can be done and achieved in the real physical world. It is about pragmatics and the usefulness of action. Moral judgements, about what... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being a (...) case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

Aristotle considered moral beauty to be the telos of the human virtues. Displays of moral beauty have been shown to elicit the moral emotion of elevation and cause a desire to become a better person and to engage in prosocial behavior. Study 1 (N = 5380) shows engagement with moral beauty is related to several psychological constructs relevant to moral education, and structural models reveal that the story of engagement with moral beauty may be considered a story of love and (...) connectedness; it is uniquely predictive of caring for, being empathic of, loving, and valuing benevolence toward others. Study 2 (N = 542) demonstrates that the personality trait of engaging with moral beauty moderates susceptibility to elevation. These studies suggest that encouraging students to engage with moral beauty might increase their desire to become better persons and to do good. Convergent with other research showing that moral emotions motivate moral behavior, we suggest that moral education programs increase their focus on developing engagement with moral beauty. (shrink)

Whatever approach one favors, the relationships between the most abstract and disembodied sense of beauty and the physical, erotic sense are clearly harder to sever than many philosophers have previously realized. The soul may be glad to forget its connection with the body, as Santayana put it, but that gladness indicates that the connection is there to be forgotten in the first place. And often it is not so much forgotten as reshaped and transfigured. Such transformations are explored here with (...) excursions into the place of beauty in art; into the queering of beauty in the exemplars of beautiful artworks; into explorations of the marginal and exotic that allure while defying conventional models; into the literal carving of facial features for cosmetic and artistic purposes that both conform to and challenges norms of appearance. In such different contexts these authors dramatize the various ways that beauty can function in relation to personal desires, artistic values, and social authority. Here we can discover beauty not only as a quality and a value, but also as a project and a practice that drives our lives from both within and without--internal standards, external expectations, and ambivalence meeting in provocative disputation. (shrink)

The following article outlines spiritual formation as it occurs at His Mansion Ministries, a communal ministry centered on Jesus Christ that focuses on helping men and women struggling with life-controlling behaviors and attitudes. Spiritual formation is argued to be a beautiful movement from self to other, a movement that is rooted in a conversion of the self to God. This movement is displayed in the community of His Mansion and the relationships therein. This spiritual movement is also seen in the (...) work and learning that is accomplished at His Mansion. The experience of relationships, work, and learning in the world is typically oriented around the self. At His Mansion Ministries, we believe that spiritual formation happens as a person, in submission to God and his love, moving from being oriented around the self to being aware of and acting for the good of others. (shrink)

The paper examines the relationship between beauty and goodness in Hegel's Lectures on Aesthetics. The paper explains that Hegel rejects certain art works as "wicked" not simply because they lack unity and intelligibility but because they undermine claims to Providence. Hegel's understanding of the connection between art, morality, and religion is further related to Kenneth Schmitz's papers that explore the same relationship.

All forms of beauty create appeal or enticement with moral significance. Sublime beauty draws one into a deep relationship that properly promotes the good and true. Parents tend to experience such beauty in their children, as eloquently described in works such as the 14th-century poem ‘The Pearl’, and they see this even when their children are desperately ill or dying. The experience of beauty in one’s child creates or reinforces the morality of caring. Unfortunately, at the end of modernity, the (...) framing of beauty as only instrumental and subjective generally works against any recognition of dignity or respect for the very small pediatric patient. Practitioners who believe in the intrinsic value and dignity of persons as general concepts should recognize parental drawing toward their children as a particularization of a transcendental value. (shrink)

Kant’s approach to the nature of artworks suggests that art has a metaphysical dimension that accounts for the two major elements of aesthetic experience. Aesthetic judgements are occasioned by experiences of pleasure and have an objective aspect since they are experiences with which other persons are expected to agree. More recently, Arthur Danto has argued that an artwork must be situated in an artworld. Pragmatists see aesthetic experience instead as integral to experience and requiring no special explanation other than association (...) with consumatory moments of experience. I want to argue that the pragmatist approach is basically correct, that contra Danto and Kant, aesthetic experience has no special implications for metaphysics. I locate this notion of aesthetic experience in the work of Ralph Waldo Emerson and offer speculations about the cultural relativity of concepts of aesthetic beauty. (shrink)

Beauty has often been associated with perfection, but many philosophical accounts of beauty allow that, in some cases, an imperfection can make something more beautiful. Here I consider this idea in the context of beauty of character. I argue that certain character flaws can enhance our appraisal of a person’s beauty of character by revealing other important qualities that they also possess. In doing so, I also consider how we come to know what sort of character a given person has. (...) I also look to our experience of fiction for insights as to the appeal and importance of character imperfections. (shrink)

Name der Zeitschrift: Kant-Studien Jahrgang: 109 Heft: 1 Seiten: 72-100.

People can come to seem to us more beautiful the better we get to know their personalities. Some have taken this to show there is a moral kind of beauty. According to the moral beauty view, moral personality traits realise moral beauty in people. Here I present a problem for the standard articulation of the moral beauty view, namely that it is not a logical truth that people inherit the beauty of their virtues. I call this the ‘inheritance problem’. I (...) present an alternative articulation of the moral beauty view that does not give rise to the problem. On this alternative articulation, the moral beauty view is not as revisionary as it is standardly taken to be. (shrink)

The paper aims at connecting the concepts of beauty and possession, traditionally coupled with the male gaze, with eros as felt by women, by homosexuals, and by those who do not identify with a defined gender. First, I will outline the concepts of beauty and possession according to “male thinking”, well formulated by Freud, Plato, Levinas, and Sartre. I will show that, in Western tradition, beauty is seen from a masculine perspective, as a set of charms arousing the subject and (...) stimulating his will to possess. The erotic relationship is consequently considered in a dualistic way: the subject is masculine and active, and desires his “object”, who can be either a man or a woman. However, the mentioned authors also highlight a crucial point: desire is doomed to be unfulfilled, because the transcendence of the other person is ungraspable. I will argue that, despite the latter point, such authors bring forward a reductionist view of eros and relationships between genders. I will suggest a solution to this reductionism, taking inspiration from the concepts of gender performativity, theorized by Butler, and queer orientation, developed by Ahmed. I will also propose to rely on Merleau-Ponty’s idea of the flesh, especially as it concerns its features of reversibility and divergence, in order to give account of every gender identity, including non-binary ones. The concepts of beauty and possession, together with the impossibility to grasp the transcendence of the other person, will not be rejected, but reconfigured through a different way of conceiving subjectivity. (shrink)