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Journal articles on the topic 'Aesthetics and ethics'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Popovic, Una. "Baumgarten on the sublime: Aesthetics and ethics." Theoria, Beograd 63, no. 3 (2020): 129–39. http://dx.doi.org/10.2298/theo2003129p.

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In this paper, Baumgarten?s account of the sublime will be inspected with regard to the category of aesthetic greatness (magnitudo aesthetica), and in view of his analysis of aesthetic subjectivity. The Sublime is here shown to be the topic within which Baumgarten aims to prove the inner connection between aesthetics and ethics, or, more precisely, that the aesthetic domain is intrinsically related to moral acts and decision-making. My analysis will primarily focus on Baumgarten?s Aesthetics, but it will also include his other works, like Metaphysics and Ethics, as well as the comparison with Pseudo-Longinus?s text On the Sublime. My research should indicate one possible interpretation of Baumgarten?s project, such that it would not discard its purpose, the autonomy of aesthetical domain, but which could, at the same time, determine the relations of aesthetics with other forms of human thought.

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2

Stengel, K. "Ethics as Style: Wittgenstein's Aesthetic Ethics and Ethical Aesthetics." Poetics Today 25, no. 4 (December 1, 2004): 609–25. http://dx.doi.org/10.1215/03335372-25-4-609.

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3

Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.

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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.

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Lamb, David. "Animals, Ethics and Aesthetics." Journal of Applied Animal Ethics Research 1, no. 1 (March 25, 2019): 66–87. http://dx.doi.org/10.1163/25889567-12340006.

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Abstract Mainstream theories which argue for enhanced ethical status of animals with appeals to sentience or intelligence have depicted aesthetics in a negative sense. This paper supports a different outlook. We explore reasons why aesthetic appreciation of animals is portrayed as subjective and sentimental, concerned only with superficial and external features. Aesthetic qualities, as understood here, are not intended as criteria for admission to a moral community or as a guide for veterinary professionals when prioritizing therapy. The case for measuring the extent of an animal’s beauty or attractiveness in order to establish its entitlement to moral status or rights is a non-starter. Nevertheless, aesthetic traditions, we argue, play a significant role in our moral response to animals and objectives to protect them. As a corrective to misunderstandings regarding the status of aesthetics in deliberation about moral obligations to animals a case for the integration of ethics and aesthetics is developed.

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5

Treib, Marc. "Ethics ≠ Aesthetics." Journal of Landscape Architecture 13, no. 2 (May 4, 2018): 30–41. http://dx.doi.org/10.1080/18626033.2018.1553391.

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6

Berman, Jessica Schiff. "Ethical Folds: Ethics, Aesthetics, Woolf." MFS Modern Fiction Studies 50, no. 1 (2004): 151–72. http://dx.doi.org/10.1353/mfs.2004.0001.

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7

Davis, Karen E. "Playing with Others." Idealistic Studies 46, no. 3 (2016): 301–22. http://dx.doi.org/10.5840/idstudies201882271.

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Scholars of hermeneutics have recently taken up the task of elucidating Gadamer’s ethics by studying his work on the structure of understanding and human experience. This article seeks to contribute to that scholarship through an examination of Gadamer’s aesthetics. I suggest that Gadamer’s notions of play and aesthetic non-differentiation provide further resources for understanding Gadamer’s hermeneutic ethics as an ethics of non-differentiation, i.e., a unification of theory and practice (understanding and application). For Gadamer, an understanding of the good is its enactment in the context of the dialogical play we find ourselves engaged in with others. Furthermore, Gadamer’s identification of aesthetic non-differentiation with play reveals that his ethics aims not only to unify theory and practice but also to unite participants in the ethical play as intersubjective elements of a shared experience. Retrieving the ethical import of Gadamer’s aesthetics also helps to unfold Gadamer’s suggestion that hermeneutics itself is an ethical enterprise.

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

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

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9

White, Boyd. "Aesthetics and Ethics." International Journal of the Arts in Society: Annual Review 1, no. 4 (2007): 95–102. http://dx.doi.org/10.18848/1833-1866/cgp/v01i04/35924.

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10

Cardullo, Bert. "Ethics and Aesthetics." Hudson Review 45, no. 4 (1993): 637. http://dx.doi.org/10.2307/3852494.

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11

Mach, Philippe. "Ethics and Aesthetics." Monist 97, no. 1 (2014): 122–37. http://dx.doi.org/10.5840/monist20149718.

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12

Haswell, Natalie. "The four ethical principles and their application in aesthetic practice." Journal of Aesthetic Nursing 8, no. 4 (May 2, 2019): 177–79. http://dx.doi.org/10.12968/joan.2019.8.4.177.

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As part of our Ethics in Aesthetics campaign, we asked for submissions on the topic of ethical practice in aesthetics. In this article, Natalie Haswell suggests that a lack of regulation in this sector enables a minority of practitioners to practice unethically, and explores some of the key ethical principles, explaining how they fit into the scope of aesthetic practice

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13

Poltrum, M. "Ethics and Aesthetics–Philosophical Perspectives." European Psychiatry 41, S1 (April 2017): S51. http://dx.doi.org/10.1016/j.eurpsy.2017.01.216.

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European intellectual history teaches us that beauty is not just an adornment to life but is also a major source of strength for our life. Moreover, the positive aesthetic experience also has healing power. That beauty is a highly effective antidote to life's suffering, i.e. acts as an anti-depressant, has been documented in the tradition of philosophical aesthetics from Plato to Bloch. Beauty reveals truth and goodness (Plato), it shows the harmonious order and the glory of things (Pseudo-Dionysius the Areopagite), it is one of the transcendental names of God (Thomas of Aquinas), in beauty the world appears in its perfection (Baumgarten), beauty is the daughter of freedom (Schiller), it offers a temporary escape from the suffering of existence (Schopenhauer), aesthetic values are the only values that withstand nihilism and the meaninglessness of existence and are thus the actual stimulus of life (Nietzsche), the beautiful is the sensual appearance of the idea (Hegel), beauty is an anti-depressant and Weckamin of being, it tears people out of their forgetfulness of Being (Heidegger), there is a close relationship between the shining forth of the Beautiful and the evidentness of the Understandable (Gadamer), in an artwork and through the aesthetic attitude the Other, foreign, the non-identical that is mangled and mutilated in the administered world is preserved and saved (Adorno). Many more positive affirmative descriptions from the tradition of philosophical aesthetics demonstrate that beauty and the aesthetic have a therapeutic dimension.Disclosure of interestThe author declares that he has no competing interest.

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Maras, Srdjan. "The erotic/aesthetic quality seen from the perspective of Levinas’s ethical an-archaeology." Filozofija i drustvo 31, no. 1 (2020): 98–107. http://dx.doi.org/10.2298/fid2001098m.

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This paper emphasizes the place and the role of the aesthetic quality and the role of the erotic in Levinas?s project that deals with ethical an-archaeology. Despite Levinas?s categorical statements that there are irreconcilable differences between ethics and aesthetics, i.e. between ethics and the erotic, above all, it is emphasized here that these differences do not represent a stark or sharp contrast, but quite contrary, they often constitute a subversive ontological element. On the other hand, somewhat unexpectedly, with its ethical anti-aestheticism Levinas?s ?noncontemporary? thought appears to be, at the same time, both significant and critical, elementary, emancipatory and contemporary in relation to present-day reactionary reactualization and revitalization of the aesthetic quality which mechanically proceeds to develop on the margins of Levinas?s emancipatory past.

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15

Tarihoran, Valent. "TORTOR PINING ANJEI PADA MASYARAKAT SIMALUNGUN KAJIAN TERHADAP ETIKA DAN ESTETIKA." Gesture : Jurnal Seni Tari 6, no. 1 (February 2, 2017): 42. http://dx.doi.org/10.24114/senitari.v6i1.5698.

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Pining Anjeitortor dance tortor is entertainment on Simalungun society. Tortor dance creations that this is taken from folklore Simalungun. This study aims to determine how the shape and Ethics and Aesthetics Tortor Pining Anjei the Community Simalungun. To discuss the purpose of the study above, use the theories related to the topic of this research is the theory of the Presentation Form AM. Hermin K theory of Manner and Costum Ethics and Aesthetics of Dharsono theory.Time used in the research to discuss Tortor Pining Anjei In Simalungun Study on Public Ethics and Aesthetics for 2 months ie June 2016 to July 2016. The research site is in Pamatang Raya, Simalungun, North Sumatra. Analysis of the data in this study using a qualitative descriptive, data collection techniques by observation, library research, interviews, and documentation.The results based on the data collected can be seen that Tortor Pining Anjei as dance entertainment for the community Simelungun pick ethical values and aesthetics that can be seen from the movement, as well as the clothing worn in Tortor Pining Anjei. Ethical values contained therein are tortor movement which moved from the activities and habits of the people Simalungun. And also ethics in Simalungun tor tor-like hands that should not be open too wide, and must not exceed the ears. It is clear that a woman should be polite. Ethics in a dress no where used clothing is Marabit Top. However Marabit Top fashion is clothing worn by women Simalungun society. Aesthetic value can be observed from the movement of the arms, legs and head. Motion carried out can be seen with a good, neat, organized, and flexible. In addition to aesthetics in motion, there is also the aesthetic in the distinctive fashion Simelungun like Ragi Pane and suriSuri makes Tortor Pining Anjei more beautiful views.

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16

Gowans, Christopher W. "Wittgenstein, Ethics and Aesthetics." International Philosophical Quarterly 34, no. 1 (1994): 128–29. http://dx.doi.org/10.5840/ipq199434172.

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17

Howells, Christina. "The ethics of aesthetics." Philosophers' Magazine, no. 16 (2001): 48–50. http://dx.doi.org/10.5840/tpm20011661.

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18

De Oliveira, Nythamar. "Between Ethics and Aesthetics." International Studies in Philosophy 31, no. 4 (1999): 83–100. http://dx.doi.org/10.5840/intstudphil199931469.

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19

Moldavanova, Alisa. "Sustainability, Ethics, and Aesthetics." International Journal of Sustainability Policy and Practice 8, no. 1 (2013): 109–20. http://dx.doi.org/10.18848/2325-1166/cgp/v08i01/55356.

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20

Anderson, Erik. "Ethics Commands, Aesthetics Demands." Environmental Philosophy 7, no. 2 (2010): 115–33. http://dx.doi.org/10.5840/envirophil20107218.

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21

Findeli, Alain. "Ethics, Aesthetics, and Design." Design Issues 10, no. 2 (1994): 49. http://dx.doi.org/10.2307/1511628.

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22

Brook, Isis, and Emily Brady. "Topiary: Ethics and Aesthetics." Ethics & the Environment 8, no. 1 (2003): 127–42. http://dx.doi.org/10.1353/een.2003.0001.

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23

Sansi, Roger. "Ethics and aesthetics: afterword." World Art 7, no. 2 (July 3, 2017): 373–80. http://dx.doi.org/10.1080/21500894.2017.1299039.

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24

Brynhildsvoll, Knut. "The Ethics of Aesthetics." Interlitteraria 22, no. 2 (January 16, 2018): 227. http://dx.doi.org/10.12697/il.2017.22.2.2.

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In my article I shall deal with the role of modern literary criticism as exercised by critics working for influential newspapers, journals and public media. I will discuss the evaluating standards and the judgment criteria. I will also examine the independence and moral integrity of critics working in close cooperation with big publishing houses. An important part of my article will focus on the jeopardized balance in book business which threatens to make the critics vulnerable to compromises and loss of ethical credibility. As a consequence of the critic’s cooperation with the sales departments of the publishing houses, he might overlook good literature and promote best-sellers, thus giving priority to a category of books which seldom proves to be of lasting value.

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25

Fynsk, Christopher. "Between Ethics and Aesthetics." L'Esprit Créateur 35, no. 3 (1995): 80–87. http://dx.doi.org/10.1353/esp.1995.0001.

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26

Tivadar, Blanka, and Breda Luthar. "Food, ethics and aesthetics." Appetite 44, no. 2 (April 2005): 215–33. http://dx.doi.org/10.1016/j.appet.2004.10.002.

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27

Pevak, Elena. "Ethics and Aesthetics in Contemporary Russian Literature." Stephanos Peer reviewed multilanguage scientific journal 48, no. 4 (July 31, 2021): 108–14. http://dx.doi.org/10.24249/2309-9917-2021-48-4-108-114.

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Ethical totalitarism in the sphere of culture – a feature of the present time – is more dangerous than ethical indifferentism. One of the possibilities for realizing the principle of ethical independenсe is focusing on aesthetic issues. The history of Russian literature shows that the less ethics bounds there is in creativity, the more successful is the creativity itself, and it is less dangerous to exist within the framework of some generally accepted moral codes than in situation of self-limiting by ethics rules. It turns out that, on the one hand, the rights of individuality are expanding in the modern world, on the other, the behavior of an individual is strictly regulated by the rules that are put forward by representatives of certain social groups. In the realm of aesthetic experimentation, the author seems to have more rights than responsibilities; in the sphere of ethics author is limited by the dominated norms of social institutions.

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28

Schwarz, Ori. "‘Everything is designed to make an impression’: The moralisation of aesthetic judgement and the hedonistic ethic of authenticity." European Journal of Cultural Studies 22, no. 4 (July 26, 2019): 399–415. http://dx.doi.org/10.1177/1367549419861629.

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Viewing both ethics and aesthetics as reflections of the social, cultural sociologists fail to thoroughly account for the complex interrelations between these realms. This article explores this relationship through a study of ‘farterism’, a discursive category that emerged in Israel during the 1990s and is used to denounce vain pretence. Not only do aesthetic surfaces operate as emotionally-laden shortcuts to deeper layers of ethical meaning, the very act of aesthetic judgement is moralized, subjected to normative regulation. The article analyses the use of ‘farterism’ in the lay evaluation of architecture, restaurants and films, while reconstructing its implied ethic of aesthetic, ‘the hedonistic ethic of authenticity’. I discuss this ethic’s philosophical-cultural roots (including the performative contribution of critical social science) and the continuities between its application in cultural evaluation and in wider moral contexts. The pattern that emerges in the data relies on the Emperor’s New Clothes tale: uncovering the hidden influence of the social on the aesthetic is at the centre of the normative regulation of aesthetic judgement. This allows laypersons to challenge cultural hierarchies shaped by cultural fields, experts and markets, and denounce them as corrupted by the social.

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29

De Paula, Darlei. "ETHICS AND AESTHETICS CRITERIA AS VALID SUPPORT TO RESEARCH." Logeion: Filosofia da Informação 5, no. 2 (March 20, 2019): 159–68. http://dx.doi.org/10.21728/logeion.2019v5n2.p159-168.

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This article aim to show the aesthetics and ethics values whose relation traces could be found in theological text studies. We use bibliographic review as methodology to this research. Considering these elements and how it was found we ask: how can we validate such elements to understand the theological text? When we are analyzing ethics behaviors can we consider the found results as intrinsic values in such discoveries and can it be compared in different times, in other words, it is available if we bring it out to our time without prejudice considering criteria. We know values and beliefs can change according different times, but the main question that translates our doubt is: how can we consider the ethical and aesthetical values described in different times avoiding damage then to be impartial in the research? In spite of lots of doubts rose, what can support on our research reading are historic and current images we can validate as support line to comparative analysis considering ethics and aesthetics values found. This text will be presented as communication in this event.Key Words: Methodology. Ethics and research. Aesthetics and research. Theological methodology.

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30

Delattre, Roland A. "Aesthetics and Ethics: Jonathan Edwards and the Recovery of Aesthetics for Religious Ethics." Journal of Religious Ethics 31, no. 2 (June 2003): 277–97. http://dx.doi.org/10.1111/1467-9795.t01-1-00138.

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31

Onishchenko, E. I. "POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 25–29. http://dx.doi.org/10.17721/ucs.2018.1(2).05.

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The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.

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32

Ross, Susan A. "Aesthetics and Ethics: Women Religious as Aesthetic and Moral Educators." Journal of the Society of Christian Ethics 38, no. 2 (2018): 131–48. http://dx.doi.org/10.1353/sce.2018.0037.

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33

Eaton, Marcia Muelder. "Aesthetics: The Mother of Ethics?" Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 355. http://dx.doi.org/10.2307/430923.

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34

Osintseva, Nadezhda Vladimirovna. "Ethics and Aesthetics of Posture." Manuskript, no. 3 (March 2020): 128–31. http://dx.doi.org/10.30853/manuscript.2020.3.26.

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35

Davis-Fisch, Heather. "Editorial: Accessibility, Aesthetics, and Ethics." Canadian Theatre Review 176 (September 2018): 100–101. http://dx.doi.org/10.3138/ctr.176.018.

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36

Elliott, Jack. "Reconciling Eco-Ethics and Aesthetics." Design Philosophy Papers 2, no. 2 (June 2004): 115–28. http://dx.doi.org/10.2752/144871304x13966215067958.

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37

Perez-Torres, R. "Ethnicity, Ethics, and Latino Aesthetics." American Literary History 12, no. 3 (March 1, 2000): 534–53. http://dx.doi.org/10.1093/alh/12.3.534.

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38

Kwok, Virginia. "Ethics and aesthetics are one." Babel. Revue internationale de la traduction / International Journal of Translation 65, no. 2 (April 23, 2019): 249–63. http://dx.doi.org/10.1075/babel.00087.kwo.

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Abstract In the post-modern world where thinking of pluralism and relativism is prevalent (Honeysett 2002), fundamental values such as respect for life pertinent to the health and welfare of humanity should remain unchanged in order to preserve the culture from corrosion. In this paper, through examining creativity in translation and creative writing (Zawawy 2008; Perteghella and Loffredo 2006), macro- and micro- strategies of translating a Chinese prose into an English play will be discussed, with the aim to explore the notion, “creativity is culturally variable” (Carter 2016) in literary translation. I would concur with Ludwig Wittgenstein who stated, “ethics and aesthetics are one” (1961), and argue that genres and forms of expression might vary in cross-cultural translation, semantic content and message should still be unaltered. Literary translators can act as cultural mediators to advocate peace. So to “develop an understanding of translation strategies and of the vital role that creativity plays throughout the translation/interpreting process” (Levý in Beylard-Ozeroff, Králová and Moser-Mercer 1998) can help translators build bridges rather than promote violence, to foster diversity rather than divisiveness. As such, I would explore how a translator can translate cultures with respect, integrity and creativity in the midst of tensions, confrontations and conflicts due to misunderstandings linguistically and culturally. As Vezzaro (2010: 10) put it, “to come closer to feeling compassion, which is what writing and translating is ultimately all about.” This will call for efforts to translate texts with faithfulness and the right degree of creativity (Grassilli 2014), making good decisions at individual levels and beyond. This will also require cultural understanding and collaboration at national and even international levels.

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

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Kisyova, Rumi, Shakeel M. Rahman, Baljit Dheansa, and Alex Karkhi. "Ethics in aesthetics: social media." Journal of Aesthetic Nursing 8, no. 7 (September 2, 2019): 310–12. http://dx.doi.org/10.12968/joan.2019.8.7.310.

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Over the last few decades, aesthetic procedures and plastic surgery have been associated with delaying the ageing process. However, the rise of social media, alongside the ‘Kardashian effect’, has brought about a new phenomenen in younger generations seeking to enhance their beauty

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41

EATON, MARCIA MUELDER. "Aesthetics: The Mother of Ethics?" Journal of Aesthetics and Art Criticism 55, no. 4 (September 1, 1997): 355–64. http://dx.doi.org/10.1111/1540_6245.jaac55.4.0355.

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42

Cattorini. "Clinical Ethics as Applied Aesthetics." Journal of Aesthetic Education 48, no. 2 (2014): 16. http://dx.doi.org/10.5406/jaesteduc.48.2.0016.

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43

Collinson, Diané. "‘ETHICS AND AESTHETICS ARE ONE’." British Journal of Aesthetics 25, no. 3 (1985): 266–72. http://dx.doi.org/10.1093/bjaesthetics/25.3.266.

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CARLSON, ALLEN. "Environmental Aesthetics, Ethics, and Ecoaesthetics." Journal of Aesthetics and Art Criticism 76, no. 4 (September 2018): 399–410. http://dx.doi.org/10.1111/jaac.12586.

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45

Lagueux, Maurice. "Ethics versus Aesthetics in Architecture." Philosophical Forum 35, no. 2 (June 2004): 117–33. http://dx.doi.org/10.1111/j.0031-806x.2004.00165.x.

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Sung Hee Choi. "Feminist Pedagogy: Politics, Ethics, Aesthetics." Feminist Studies in English Literature 16, no. 1 (June 2008): 167–88. http://dx.doi.org/10.15796/fsel.2008.16.1.008.

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Tripathi, Arun Kumar. "Ethics and aesthetics of technologies." AI & SOCIETY 25, no. 1 (February 2, 2010): 5–9. http://dx.doi.org/10.1007/s00146-010-0265-7.

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48

Gilmore, Jonathan. "Ethics, Aesthetics, and Artistic Ends." Journal of Value Inquiry 45, no. 2 (May 2011): 203–14. http://dx.doi.org/10.1007/s10790-011-9270-4.

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Furani, Khaled. "“Ethics and Aesthetics Are One”." Critical Times 3, no. 3 (December 1, 2020): 464–70. http://dx.doi.org/10.1215/26410478-8662336.

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

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

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