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Journal articles on the topic 'Analytic aesthetics'

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Published: 4 June 2021

Last updated: 26 July 2025

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1

Moore, Ron, and Richard Shusterman. "Analytic Aesthetics." Journal of Aesthetics and Art Criticism 48, no. 3 (1990): 242. http://dx.doi.org/10.2307/431770.

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2

HEPBURN, RONALD. "Analytic Aesthetics." Philosophical Books 31, no. 3 (2009): 187–88. http://dx.doi.org/10.1111/j.1468-0149.1990.tb00334.x.

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3

Waugh, Joanne B. "Analytic Aesthetics and Feminist Aesthetics: Neither/Nor?" Journal of Aesthetics and Art Criticism 48, no. 4 (1990): 317. http://dx.doi.org/10.2307/431569.

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WAUGH, JOANNE B. "Analytic Aesthetics and Feminist Aesthetics: Neither/Nor?" Journal of Aesthetics and Art Criticism 48, no. 4 (1990): 317–26. http://dx.doi.org/10.1111/1540_6245.jaac48.4.0317.

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5

Shusterman, Richard. "ON ANALYSING ANALYTIC AESTHETICS." British Journal of Aesthetics 34, no. 4 (1994): 389–94. http://dx.doi.org/10.1093/bjaesthetics/34.4.389.

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6

Séguy-Duclot, Alain. "Analytic Philosophy and Aesthetics." Critique d’art, no. 9 (April 1, 1997): 18–20. http://dx.doi.org/10.4000/critiquedart.105158.

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7

Winborn, Mark Douglas. "Aesthetic experience and analytic process." International Journal of Jungian Studies 7, no. 2 (2015): 94–107. http://dx.doi.org/10.1080/19409052.2014.924424.

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In this paper, it is proposed that all individuals have an innate (archetypal) aesthetic urge that is a central organizing influence for our actions, experiences, perceptions, self-perceptions, and relationships. The attitudes towards aesthetics held by Freud, Jung, and later theorists are reviewed. Drawing on ideas from aesthetic philosophy and neuroscience, it is suggested that many of the experiences associated with analytic process – such as the experience of depth, the emergence of meaning, transcendence, coherence, narrative flow, or moments of meeting – can be viewed through the lens of

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8

Lee, Haewan, Juhan Yoon, Sunah Kang, Kunhong Choi, and Hyun Joo Shin. "Analytic Aesthetics: What and How." Mihak - The Korean Journal of Aesthetics 84, no. 4 (2018): 91–155. http://dx.doi.org/10.52720/mihak.84.4.4.

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9

Shusterman, Richard, Colin Radford, Sally Minogue, Anthony Savile, Roger Scruton, and Mary Mothersill. "Poetics and Current Analytic Aesthetics." Poetics Today 7, no. 2 (1986): 323. http://dx.doi.org/10.2307/1772763.

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10

Barwell, Ismay. "Analytic Aesthetics (review)." Philosophy and Literature 14, no. 1 (1990): 201–2. http://dx.doi.org/10.1353/phl.1990.0103.

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11

MOORE, RON. "Shusterman, Richard, Ed. Analytic Aesthetics." Journal of Aesthetics and Art Criticism 48, no. 3 (1990): 242–43. http://dx.doi.org/10.1111/1540_6245.jaac48.3.0242.

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12

Michalski, Rafał Andrzej. "Analityka i metafizyka w teorii estetycznej Johanna Gottfrieda Herdera." Humaniora. Czasopismo Internetowe 43, no. 3 (2023): 41–59. http://dx.doi.org/10.14746/h.2023.3.3.

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The main purpose of this article is to discuss the basic assumptions of the analytic method in Johann Gottfried Herder’s philosophy of art and theory of sense cognition. Analytic method, along with phenomenology and historical hermeneutics, is an essential component of his innovative project of philosophical aesthetics, which is based on the assumptions of sensualist metaphysics. The goal of Herder’s phenomenology is to isolate the sensory fields on which the various types of art are founded and to grasp the essential, qualitative features of a work of art. Hermeneutics examines the context of

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13

Shusterman, Richard. "Analytic Aesthetics, Literary Theory, and Deconstruction." Monist 69, no. 1 (1986): 22–38. http://dx.doi.org/10.5840/monist19866917.

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14

Gracyk, Theodore, George Dickie, Gordon Graham, and Colin Lyas. "Introduction to Aesthetics: An Analytic Approach." Journal of Aesthetics and Art Criticism 57, no. 1 (1999): 82. http://dx.doi.org/10.2307/432071.

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15

SHUSTERMAN, RICHARD. "Introduction: Analytic Aesthetics: Retrospect and Prospect." Journal of Aesthetics and Art Criticism 46, special_issue (1987): 115–24. http://dx.doi.org/10.1093/431269.

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16

Lelièvre, Samuel. "La philosophie ricœurienne de l’esthétique entre poétique et éthique." Études Ricoeuriennes / Ricoeur Studies 7, no. 2 (2017): 43–73. http://dx.doi.org/10.5195/errs.2016.374.

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Ricœur’s philosophy never locates itself directly in the field of philosophical aesthetics inasmuch as philosophical aesthetics never arises as a field of major questioning and discursive development for Ricœur’s philosophy or as a field that would guide that philosophy. However, Ricœur maintains an ongoing but complex connection with aesthetics throughout his philosophical work. Here we defend the thesis that there are difficulties relating both to the complexity of Ricœur’s philosophy and to the crisis situation of aesthetics as an autonomous field of philosophical inquiry. A more direct con

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17

Esser, Andrea Marlen. "Symbolizing an Infinite World – Kant’s Analytic of Aesthetic Judgment, its Transcultural Dimension, and Jullien’s Critique of its Limits." Yearbook for Eastern and Western Philosophy 2018, no. 3 (2019): 7–22. http://dx.doi.org/10.1515/yewph-2018-0003.

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AbstractKant’s formal conditions for aesthetic judgment do not limit aesthetic reflection to certain aesthetic traditions and cultures. Moreover, these conditions open up the possibility of applying aesthetic reflection in the context of different approaches. From this perspective, Kant’s analytic of aesthetic judgment might furnish a useful basis for trans-cultural dialogues in the field of aesthetics and reflection on the arts. Yet the theory also has its limits, especially insofar as it neglects the somatic dimension of aesthetic experience. These two questions are the primary concerns of t

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18

Margolis, Joseph. "Reconciling Analytic and Feminist Philosophy and Aesthetics." Journal of Aesthetics and Art Criticism 48, no. 4 (1990): 327. http://dx.doi.org/10.2307/431570.

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19

Åhlberg, Lars-Olof. "THE NATURE AND LIMITS OF ANALYTIC AESTHETICS." British Journal of Aesthetics 33, no. 1 (1993): 5–16. http://dx.doi.org/10.1093/bjaesthetics/33.1.5.

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20

MARGOLIS, JOSEPH. "Reconciling Analytic and Feminist Philosophy and Aesthetics." Journal of Aesthetics and Art Criticism 48, no. 4 (1990): 327–36. http://dx.doi.org/10.1111/1540_6245.jaac48.4.0327.

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21

Leddy. "Analytic Aesthetics Today, Explored through Ten Conversations." Journal of Aesthetic Education 53, no. 2 (2019): 102. http://dx.doi.org/10.5406/jaesteduc.53.2.0102.

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22

Hadi, Lina, Valerin Angelina, Zulfan Muttaqin, and Berliana Sihombing. "Perception of The Aesthetics of a Smile in Patients Post Using Orthodonic Treatment Based on Characteristics." Archives of The Medicine and Case Reports 2, no. 2 (2021): 134–40. http://dx.doi.org/10.37275/amcr.v2i2.22.

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Aesthetics is a philosophy of the concept of beauty which is the reason people takeorthodontic treatment. One of the factors that influence aesthetics is a smile. Apartfrom personal experiences and social environment, the patient's perception of theaesthetics of the smile after orthodontic treatment can be influenced bycharacteristics. This study aims to determine the perception of smile aesthetics inpost-orthodontic patients based on characteristics. This type of research isdescriptive analytic with cross sectional design. The study population were patientswho were recorded in medical records

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23

Viau, Marcel. "Practical Theology in the Light of Analytic Aesthetics." International Journal of Practical Theology 6, no. 1 (2002): 1–24. http://dx.doi.org/10.1515/ijpt.2002.6.1.1.

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24

GRACYK, THEODORE. "George Dickie, Introduction To Aesthetics: An Analytic Approach." Journal of Aesthetics and Art Criticism 57, no. 1 (1999): 82–85. http://dx.doi.org/10.1111/1540_6245.jaac57.1.0082.

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25

Magomedova, Julia. "R. Schusterman's Philosophical Position from Aesthetics to Somaesthetics: on the Forming of his Philosophical Standpoint." Ideas and Ideals 16, no. 3-2 (2024): 430–41. http://dx.doi.org/10.17212/2075-0862-2024-16.3.2-430-441.

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The subject of the article is neopragmatic aesthetics; its formation, methodological foundations and specificity of the object of research. To reveal the stated goal, the author turns to the works of the American philosopher Richard Shusterman, who most consistently and clearly substantiates his philosophical position. The American philosopher, despite the strong influence of the analytical school, restores the connection with pragmatism, with the aesthetics of John Dewey, points out the dead ends and problematic points of the analytical approach. The article presents the evolution of American

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26

He, Guang Qing. "About Architectural Aesthetics in the Three Gorges Reservoir Area Planning." Applied Mechanics and Materials 507 (January 2014): 531–36. http://dx.doi.org/10.4028/www.scientific.net/amm.507.531.

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In the architectural aesthetics in the 20th century based on cross field of art and architecture, help system analytic aesthetic feelings in the form of modern architecture. In this paper, the status quo of the construction of the three gorges reservoir area planning, and related aesthetic theory research as the leading factor, committed to the maintenance of the ecological environment, trying to further perfect architectural design with the laws of the aesthetic development, reflect the comprehensive effect of the immigration for the long-term development in cities and towns from which. For d

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27

Barolsky, Daniel. "Composing Performances." Quodlibet. Revista de Especialización Musical, no. 76 (December 17, 2021): 35–53. http://dx.doi.org/10.37536/quodlibet.2021.76.1436.

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All too often, critics, historians, and music analysts draw upon the aesthetic and analytic language of composition to describe and account for performed interpretations. This article explores the inequities and challenges that derive from this borrowing of language. Yet a study of Ernst Levy and his recorded performance of Brahms, however, reveals how compositional aesthetics can also be appropriated and repurposed to new creative ends.

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28

Tsekeris, Charalambos, and Konstantinos Koskinas. "A “Weak” Reflection on Unpredictability and Social Theory." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 8, no. 1 (2010): 36–42. http://dx.doi.org/10.31269/triplec.v8i1.183.

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This concise reflection seeks to comprehensively interconnect the well-established theoretical and methodological logic of self-organization with a new reflexive ethos and aesthetic of epistemic modesty and humility. A brief elaboration on the issue of unpredictability further encourages a suitable and sustainable analytic framework for generating, developing and cultivating a radical ethics/aesthetics of epistemological weakness, as well as a sense of less strong and more reflexive sociological/philosophical worldview.

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29

Tsekeris, Charalambos, and Konstantinos Koskinas. "A “Weak” Reflection on Unpredictability and Social Theory." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 8, no. 1 (2010): 36–42. http://dx.doi.org/10.31269/vol8iss1pp36-42.

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This concise reflection seeks to comprehensively interconnect the well-established theoretical and methodological logic of self-organization with a new reflexive ethos and aesthetic of epistemic modesty and humility. A brief elaboration on the issue of unpredictability further encourages a suitable and sustainable analytic framework for generating, developing and cultivating a radical ethics/aesthetics of epistemological weakness, as well as a sense of less strong and more reflexive sociological/philosophical worldview.

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30

Inácio-Barbosa, Leonardo Toledo Miranda, Fernanda Teixeira, Vivian Maia Reis, Luis Otávio de Marins Ribeiro, Alfredo Nazareno Pereira Boente, and Maira Monteiro Fróes. "Evaluating the Effects of Artistic Impregnation of Scientific Objects on Qualifiers of Perceptual Assessment Through Self-Report Questionnaires: Implications for an Emerging Experimental Neuroepistemology." Journal of Cognition and Culture 17, no. 1-2 (2017): 129–45. http://dx.doi.org/10.1163/15685373-12342195.

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This report summarizes our preliminary efforts to delineate, at controlled experimentation, the impact of art, and artistic aesthetics, on the way we assess science. Our results suggest that the analytic-synthetic axis of perceptual cognitive handling of the scientific object is unaffected by its artistic non-conventional contextualization, while cognitive abstraction, positive emotions and aesthetic impressions are favoured. Implications to philosophical foundations of the Cartesian scientific method are considered.

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31

Tainio, Matti. "Shadowplay: Interactions of Artificial Illumination and Darkness." Philosophy of the City Journal 2 (November 14, 2024): 30–44. http://dx.doi.org/10.21827/potcj.2.3.

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This article explores the aesthetic and philosophical aspects of shadowplay: the multiple and layered interactions between artificial illumination and darkness in urban environments. By examining the concept of shadows through the perspectives of theorists Roy Sorensen and Jun'ichiro Tanizaki, I explore the dynamic tension between darkness, seen as a natural phenomenon, and the fragmented light created by modern technology. The study delves into how artificial light transforms the nocturnal city, influencing both urban life and aesthetic experiences. The first section of the paper addresses da

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32

Yapp, Hentyle. "The Difference Queer Aesthetics Make." GLQ 30, no. 4 (2024): 547–65. http://dx.doi.org/10.1215/10642684-11331026.

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Queer Aesthetics will be a new section for GLQ, and this essay explains its focus and rationale as it replaces the Moving Image Review. This essay outlines the need for queer aesthetics as an analytic as it relates to changes in liberal governance and media representation, subjectless critique, and academic discourse. In addition, it outlines a genealogy of queer aesthetics and form and questions the centrality of representation as a discourse for queer theory and studies.

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33

Fisher, Saul. "Architectural Aesthetics in the Analytic Tradition: A New Curriculum." Journal of Architectural Education 54, no. 1 (2000): 35–44. http://dx.doi.org/10.1162/104648800564716.

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34

Soucek, Brian. "Aesthetics and the Philosophy of Art—The Analytic Tradition." Teaching Philosophy 28, no. 3 (2005): 287–90. http://dx.doi.org/10.5840/teachphil200528337.

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35

Stopel, Bartosz. "Between Theory and Practice: Literary Theory and Analytic Aesthetics." Tekstualia 4, no. 35 (2013): 123–34. http://dx.doi.org/10.5604/01.3001.0013.4632.

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The article aims to determine the relation between literary theory and the analytic philosophy of literature. The former is understood mostly as a body of ideologically and culturally focused normative reading strategies, and the latter as an inquiry into the foundations, assumptions and aims of reading and appreciating works of literature. Although at fi rst it might seem that both approaches seem radically incompatible, a closer inspection reveals that, in some cases, they are complementary, while, in others, the relation is more hierarchical, with aesthetic judgments being logically primary

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36

Åhlberg, Lars-Olof. "ANALYTIC AESTHETICS AND ANTI-ESSENTIALISM: A REPLY TO RICHARD SHUSTERMAN." British Journal of Aesthetics 35, no. 4 (1995): 387–89. http://dx.doi.org/10.1093/bjaesthetics/35.4.387.

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37

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

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38

Slugan, Mario, and Enrico Terrone. "The Fiction/Nonfiction Distinction: Documentary Studies and Analytic Aesthetics in Conversation." Studies in Documentary Film 15, no. 2 (2021): 107–13. http://dx.doi.org/10.1080/17503280.2021.1923141.

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39

Saltz, David Z. "When is the Play the Thing?—Analytic Aesthetics and Dramatic Theory." Theatre Research International 20, no. 3 (1995): 266–76. http://dx.doi.org/10.1017/s0307883300008701.

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When the Prague semiotician Jiri Veltrusky maintains that ‘in theater, the linguistic sign system, which intervenes through the dramatic text, always combines and conflicts with acting, which belongs to an entirely different sign system’, he makes explicit a commonplace premise: that the performance and the play constitute two distinct and parallel sign systems. This premise underlies the standard distinction between the dramatic text and the performance text, and forms the basis of what I will call the ‘two-text’ model of the play/performance relationship. The difference between a play and it

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40

Hidayah, Nur. "حركة العودة إلى المسج د في الموسيقى التصويرية الأصلية لفيلم خمس زوايا المساجد". Jurnal CMES 13, № 1 (2020): 1. http://dx.doi.org/10.20961/cmes.13.1.44558.

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This article discusses the concept of Islamic aesthetics, which is the view of art and beauty according to Ismail Raji Al Faruqi and Seyyed Hossein Nasr, the representation of the two intellectual figures is seen as representing a pattern of religious understanding, especially with regard to the perspective of art objects in Islam. The aim is to explain descriptively the comparative views of the two modern Islamic thinkers and examine how Muslims respond to their thoughts in the Islamic art world today. furthermore, the article explain conceptually how religious art thought is believed and cho

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41

M, Muh Farkhan. "ESTETIKA SUFISTIK DAN ESTETIKA TAUHIDIK: PERSPEKTIF FILOSOFIS KOMPARATIF." Jurnal CMES 13, no. 1 (2020): 80. http://dx.doi.org/10.20961/cmes.13.1.44563.

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<p>This article discusses the concept of Islamic aesthetics, which is the view of art and beauty according to Ismail Raji Al Faruqi and Seyyed Hossein Nasr, the representation of the two intellectual figures is seen as representing a pattern of religious understanding, especially with regard to the perspective of art objects in Islam. The aim is to explain descriptively the comparative views of the two modern Islamic thinkers and examine how Muslims respond to their thoughts in the Islamic art world today. furthermore, the article explain conceptually how religious art thought is believe

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42

Nero, Agus, Kunto Sofianto, Maman Sutirman, and Dadang Suganda. "SENI BORDIR TASIKMALAYA DALAM KONSTELASI ESTETIK DAN IDENTITAS." Patanjala : Jurnal Penelitian Sejarah dan Budaya 11, no. 1 (2019): 81. http://dx.doi.org/10.30959/patanjala.v11i1.476.

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Penelitian ini berjudul “Seni Bordir Tasikmalaya dalam Konstelasi Estetik dan Identitas”. Penelitian ini mengkaji seni bordir Tasikmalaya dilihat dari aspek estetik dan identitas. Metode yang digunakan adalah metode deskriptif-analitik. Teknik pengumpulan data dalam penelitian ini adalah survei ke lapangan melalui wawancara, pengamatan secara langsung, dan pengambilan sumber-sumber tertulis dari masyarakat dan pemerintah setempat. Sumber data yang digunakan dalam penelitian ini adalah data lapangan melalui participant observation sebagai data primer dan sumber kepustakan sebagai data sekunder.

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43

Suojanen, Mika. "The Aesthetic Experiences of Beautiful and Ugly People: a Critique." Philosophical Anthropology 10, no. 1 (2024): 86. https://doi.org/10.21146/2414-3715-2024-10-1-86-105.

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The question of whether beauty exists in nature is a philosophical problem. In particular, there is the question of whether works of art, people, or nature have aesthetic qualities. Most people say they care about their own beauty. Moreover, they judge the appearance of another person from an aesthetic perspective, using aesthetic concepts. However, aesthetic judgments are not objective in the sense that experience justifies their objectivity. In this publication, which is a translation of a scholarly article, the author analyzes the theory of the American philosopher of art and one of the key

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44

Kechur, Roman, Olha Yaskevych, and Khrystyna Turezka. "PSYCHOANALYTIC MANNER AND ITS RELATION TO THE LITERATURE." PSYCHOLOGICAL JOURNAL 7, no. 5 (2021): 85–96. http://dx.doi.org/10.31108/1.2021.7.5.8.

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This research continues the methodological discussion between psychoanalytically-oriented therapists and their colleagues, who understand the point, the process and the influence of psychotherapy through a CBT-oriented lens. The central point of research is the question of connections between psychoanalysis and literature, or even, of psychoanalysis itself as a kind of literature. The key features of a psychoanalysts mode of thinking is to be found in the plane of aesthetics. It is proposed, that, unlike a CB-therapist, who mainly goes by the rational principles of cognition, a psychoanalyst i

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45

Tatla, Helen. "Aesthetics as politics: Reflections on an architecture of dissensus." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 113–22. http://dx.doi.org/10.5937/saj1501113t.

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Contributing to the debate for a democratic articulation of the urban environment, this paper focuses on the reinterpretation of the relation between thinking and perception in Kant's Second Moment of the Analytic of the Beautiful, by Jacques Rancière. Rancière argues that the dissensual operation implied in Kant's definition of the beautiful involves a superimposition that transforms the given form or body to a new one. Social emancipation for Rancière becomes an aesthetic matter, a matter of dismemberment of a body animated by a particular belief. When the loss of destination implicit in aes

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46

D'Oro, Giuseppina. "Beauties of Nature and Beauties of Art: On Kant and Hegel's Aesthetics." Hegel Bulletin 17, no. 01 (1996): 70–86. http://dx.doi.org/10.1017/s0263523200003165.

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This paper is an attempt to sketch the general framework of Kant and Hegel's Aesthetics, which are dealt respectively in sections I and II. The first section considers Kant's stated aims in the introduction to the Critique of Judgment, his location of judgments of taste within the problematic of reflective judgment, his treatment of reflective aesthetic judgments in the analytic of the beautiful and the distinction between objective reality and subjective universal validity. The second section provides a sketch of Hegel's division of artistic beauty into symbolic, classical and romantic art in

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47

Livingston, Paisley, and Gregory Currie. "The Wolves and the Manger: Analytic Aesthetics and the Dogmas of Poststructuralism." Poetics Today 13, no. 2 (1992): 369. http://dx.doi.org/10.2307/1772538.

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48

Pouivet, R. "Review: Aesthetics and the Philosophy of Art. The Analytic Tradition. An Anthology." British Journal of Aesthetics 45, no. 1 (2005): 88–94. http://dx.doi.org/10.1093/bjaesthetics/ayi007.

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49

Marques, P. N. "L.S. Vygotsky’s Critique: Between Aesthetics, Publitsistika and Psychology." Cultural-Historical Psychology 15, no. 4 (2019): 25–34. http://dx.doi.org/10.17759/chp.2019150403.

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This paper discusses L.S. Vygotsky’s early activity as a critic through an analysis of texts in which the author himself reflects on the task of the critic. Fragments from the essay on Hamlet, Psychology of art and theatrical reviews of the Gomel period (1922—23) are analyzed to provide an overview of how his understanding of the role of the critic has evolved and changed in time. By moving from the reader’s critique to the objective analytic method, Vygotsky has placed the critic in a position of social and educational engagement, a public figure committed to raise the level of the arts and t

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50

Hetrick, Austin. "Hunger in the Garden: Shortage and Environmental Aesthetics in Nadine Gordimer's The Conservationist." Publications of the Modern Language Association of America 134, no. 3 (2019): 491–506. http://dx.doi.org/10.1632/pmla.2019.134.3.491.

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This essay, a reading of Nadine Gordimer's The Conservationist (1974), seeks to reconcile the promise of global environmental aesthetics with postcolonial theories of difference. While the Anthropocene is often framed as universal and unprecedented, Gordimer's ironic presentation of an earlier discourse—centered on resource limits and population bombs—demonstrates that certain themes have existed in the global environmental imagination for decades. Read alongside the history of South African conservation and Judith Butler's theory of precarity, he Conservationist develops an alternative green

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