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Journal articles on the topic 'Philosophy of aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.

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&nbsp; This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthe

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2

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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Pattison, George. "KIERKEGAARD: AESTHETICS AND ‘THE AESTHETIC’." British Journal of Aesthetics 31, no. 2 (1991): 140–51. http://dx.doi.org/10.1093/bjaesthetics/31.2.140.

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Wilkoszewska, Krystyna. "Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.

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In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.

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5

Kreft, Lev. "How to defend aesthetics?" SAJ - Serbian Architectural Journal 7, no. 2 (2015): 27–36. http://dx.doi.org/10.5937/saj1501027k.

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Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist "overcoming" (Aufhebung) of aesthetics and of aesthetics' self-criticism expressed as the "crisis of aesthetics". To oppose both of these critical positions and at the same time reform aesthetics' ability to treat all aesthetic phenomena, but still keep art in special focus, he introduced the problem of immediacy of experience of the world by a human being. In his article "The Problem of Immediacy and Mediation in Marx's Thought" (1970) Damnjanović wanted to demonstrate the primacy of aesthetic dime

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Ajíbóyè, Olusegun, Stephen Fọlárànmí, and Nanashaitu Umoru-Ọkẹ. "Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy." Mediterranean Journal of Social Sciences 9, no. 4 (July 1, 2018): 59–70. http://dx.doi.org/10.2478/mjss-2018-0115.

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Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head recei

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7

Lelièvre, Samuel. "La philosophie ricœurienne de l’esthétique entre poétique et éthique." Études Ricoeuriennes / Ricoeur Studies 7, no. 2 (February 1, 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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8

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 als

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9

Wiesing, Lambert. "Phänomenologische und experimentelle Ästhetik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 2 (2012): 68–82. http://dx.doi.org/10.28937/1000107594.

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Der Artikel versucht drei Thesen zu verteidigen: Erstens die Ansicht, dass man zwar philosophische und empirische Ästhetiken klar unterscheiden und auch gegenüberstellen kann, dass der Begriff der experimentellen Ästhetik aber keineswegs nur für Ästhetiken reserviert werden sollte, welche außerhalb der Philosophie zu finden sind. Denn insbesondere bei phänomenologischen Ästhetiken, so die zweite These, lässt sich in einem bestimmten Sinne auch von einer experimentellen Ästhetik sprechen – nämlich genau dann, wenn mit der Methode der Eidetischen Variation gearbeitet wird, und insofern sich dies

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10

Erjavec, Aleš. "Art and aesthetics: Three recent perspectives." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 142–59. http://dx.doi.org/10.5937/saj1202142e.

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The author sketches the development of the relationship between art and aesthetics in the recent past. As his starting point, he takes the position that artists established in the sixties in relation to philosophical aesthetics. In his view 1980 represented a historical threshold as concerns transformations both in art and its philosophy. He then discusses three theories of art and aesthetics - Nicolas Bourriaud's "relational aesthetics" from the nineties, Jacques Rancière's aesthetic project from the following decade, and the very recent "theory of contemporary art" developed by Terry Smith.

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11

Wilson, R. "Aesthetics and its Discontents * The Aesthetic Unconscious." British Journal of Aesthetics 51, no. 1 (April 25, 2010): 103–5. http://dx.doi.org/10.1093/aesthj/ayq015.

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12

Wood, Robert E. "Philosophy, Aesthetics, and Theology." American Catholic Philosophical Quarterly 67, no. 3 (1993): 355–82. http://dx.doi.org/10.5840/acpq199367318.

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13

Cova, Florian, Amanda Garcia, and Shen-yi Liao. "Experimental Philosophy of Aesthetics." Philosophy Compass 10, no. 12 (December 2015): 927–39. http://dx.doi.org/10.1111/phc3.12271.

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14

Vuksanović, Divna. "Aesthetics and media philosophy." Kultura, no. 161 (2018): 389–98. http://dx.doi.org/10.5937/kultura1861389v.

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15

Saito, Yuriko. "Everyday aesthetics and world-making." Contrastes. Revista Internacional de Filosofía 25, no. 3 (January 19, 2021): 35–54. http://dx.doi.org/10.24310/contrastescontrastes.v25i3.11567.

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The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations have serious consequences which determine the quality of life and the state of the world, for better or worse. This po

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PŁOTKA, WITOLD. "BEYOND ONTOLOGY: ON BLAUSTEIN’S RECONSIDERATION OF INGARDEN’S AESTHETICS." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, no. 2 (2020): 552–78. http://dx.doi.org/10.21638/2226-5260-2020-9-2-552-578.

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The article addresses the popular reading of Ingarden that his aesthetic theory is determined by ontology. This reading seems to suggest that, firstly, aesthetics lacks its autonomy, and, secondly, the subject of aesthetic experience is reproductive, and passive. The author focuses on Ingarden’s aesthetics formulated by him in the period of 1925–1944. Moreover, the study presents selected elements of Ingarden’s phenomenology of aesthetic experience, and by doing so, the author aims at showing how Ingarden’s aesthetics was reconsidered by Blaustein, a student of Ingarden, whose theory seems to

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Noller, Jörg. "Die Stimmung des Willens." Deutsche Zeitschrift für Philosophie 69, no. 4 (August 1, 2021): 529–52. http://dx.doi.org/10.1515/dzph-2021-0047.

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Abstract This paper reconstructs Friedrich Schiller’s aesthetics from a compatibilist point of view. I shall argue that it is Schiller’s conception of individual self-determination that motivates his aesthetic critique of Kant’s moral philosophy. Schiller conceives of aesthetic self-determination in terms of a compatibilism between reason and nature. As such, Schiller’s aesthetics can be interpreted as an ontological category. His concepts of love, play and the aesthetic state must therefore be understood in terms of volitional structures that describe human freedom in nature, history and soci

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18

Worthington, Glenn. "The Voice of Poetry in Oakeshott's Moral Philosophy." Review of Politics 64, no. 2 (2002): 285–310. http://dx.doi.org/10.1017/s0034670500038109.

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Despite recent interest in Michael Oakeshott's work, his aesthetics have yet to receive an extended consideration. The paper surveys Oakeshott's writings on the character of art and provides a critical account of how his aesthetics complements his moral philosophy. Through his aesthetics Oakeshott provides his moral philosophy with an idea of authenticity. Societies and individuals that have failed to recognize the poetic dimension in the moral life suffer a corruption of consciousness. Far from the poetic dimension of the moral life being responsible for nihilism and aestheticism as some crit

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19

Spector, Tami I. "Nanoaesthetics: From the Molecular to the Machine." Representations 117, no. 1 (2012): 1–29. http://dx.doi.org/10.1525/rep.2012.117.1.1.

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Rooted in the history of the representation of benzene, this paper examines the evolution of nanoaesthetics from the 1985 discovery of buckminsterfullerene forward, including the aesthetics of molecular machines and scanning probe microscopy (SPM). It highlights buckminsterfullerene's Platonic aesthetics, the aesthetic relationship of nanocars and molecular switches to Boyle's seventeenth-century mechanistic philosophy and twentieth-century machine aesthetics, and the photographic aesthetics of SPM.

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20

Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.

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In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic catego

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21

Rejimon, P. K. "EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH." International Journal of Research -GRANTHAALAYAH 5, no. 9 (September 30, 2017): 217–23. http://dx.doi.org/10.29121/granthaalayah.v5.i9.2017.2234.

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Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and ev

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22

Seel, Martin. "The Career of Aesthetics in German Thinking." Royal Institute of Philosophy Supplement 44 (March 1999): 399–412. http://dx.doi.org/10.1017/s1358246100006810.

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In German philosophy of the last 250 years, aesthetics has played a leading part. Any arbitrary list of great names contains mainly authors who either have written classical texts on aesthetics or are strongly influenced by aesthetic reflection, for instance, Kant, Hegel, Schelling, Schopenhauer, Marx, Nietzsche, Dilthey, Heidegger, Wittgenstein, Gadamer, and Adorno – the few exceptions being Husserl and Frege. It is not by chance that Frege is one of the founding fathers of modern Anglo-Saxon philosophy, where, generally speaking, aesthetics has had only marginal influence. That is not an ins

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23

Turenko, V. E., and N. V. Yarmolitska. "SPECIFICITY AND FEATURES OF THE DEVELOPMENT OF AESTHETICS IN THE UKRAINIAN SOVIET PHILOSOPHY IN THE 50-60s OF THE XX CENTURY." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 24–28. http://dx.doi.org/10.17721/ucs.2021.1(8).05.

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The article highlights the specificity of research in the field of aesthetics in the context of the development of Soviet philosophy in Ukraine in the 50-60s. XX century. There are three main vectors of scientific work: ideological works, original aesthetic developments and historical and aesthetic research. It is revealed that ideological aesthetic works were based on the concept of "positive aesthetics" by A. Lunacharsky, which contributed to the development of the concept of socialist realism, nationality of art by Ukrainian Soviet thinkers, as well as criticism of Western aesthetics and th

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24

Hepburn, Ronald. "Data and Theory in Aesthetics: Philosophical Understanding and Misunderstanding." Royal Institute of Philosophy Supplement 41 (September 1996): 235–52. http://dx.doi.org/10.1017/s1358246100006147.

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This paper has a twofold structure: both parts concern philosophy's understanding (or misunderstanding) of its data—in the area of aesthetics. The first part (I) considers aesthetics as philosophy of art: the second part (II) considers aesthetics as concerned also with the appreciation of nature.

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Viazinkin, Aleksei, and Irina Vladimirovna Dvukhzhilova. "Conservative approach towards aesthetics of architecture: Roger Scruton's philosophy." Архитектура и дизайн, no. 2 (February 2019): 1–6. http://dx.doi.org/10.7256/2585-7789.2019.2.32686.

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The subject of this research is the conservative approach towards aesthetics of architecture in the philosophy of British thinker, aesthetician and theorist of conservatism Roger Scruton. The cultural situation of postindustrial society &ndash; consumerism and commodification of culture &ndash; requires new approaches in art history, which are capable of establishing protective trends in the social life. Scruton offers an alternative approach towards art, which represents not so much a return to the traditional values, as revival of cultural situation. Such situation implies the existe

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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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27

Hopkins, Robert. "Aesthetics as Philosophy of Perception." British Journal of Aesthetics 57, no. 3 (April 27, 2017): 340–44. http://dx.doi.org/10.1093/aesthj/ayw047.

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Steiner, David M. "Aesthetics between Philosophy and Pedagogy." Journal of Education 182, no. 3 (October 2000): 1–20. http://dx.doi.org/10.1177/002205740018200302.

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29

Olender, Jacek. "Aesthetics as philosophy of perception." Philosophical Psychology 30, no. 1-2 (September 3, 2016): 208–11. http://dx.doi.org/10.1080/09515089.2016.1225953.

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30

Steiner, David M. "Aesthetics between Philosophy and Pedagogy." Journal of Education 184, no. 1 (January 2004): 39–56. http://dx.doi.org/10.1177/002205740418400104.

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31

Torsen, Ingvild. "Philosophy of Art after Aesthetics." Heidegger Circle Proceedings 42 (2008): 46–54. http://dx.doi.org/10.5840/heideggercircle2008426.

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32

Ka-Pok-Tam, Andrew. "On the Limitations of Lao Sze Kwang’s “Trichotomy of the Self” in His Interpretation of Kierkegaard." Kierkegaard Studies Yearbook 26, no. 1 (August 11, 2021): 523–45. http://dx.doi.org/10.1515/kierke-2021-0022.

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Abstract In 1959, Lao Sze-Kwang (1927 – 2012), a well-known Chinese Kantian philosopher and author of the New Edition of the History of Chinese Philosophy, published On Existentialist Philosophy introducing existential philosophers to Chinese readers. This paper argues that Lao misinterpreted Kierkegaard’s ultimate philosophical quest of “how to become a Christian” as a question of ‘virtue completion,’ because he failed to recognize and acknowledge Kierkegaard’s distinction between aesthetic, moral and religious passion. By describing and clarifying Lao’s misinterpretation, the paper then argu

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33

Beards, Andrew. "Aesthetics." Modern Schoolman 87, no. 2 (2010): 143–78. http://dx.doi.org/10.5840/schoolman20108723.

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Osolsobě, Petr. "Aesthetics." Journal of Aesthetics and Phenomenology 7, no. 1 (January 2, 2020): 85–87. http://dx.doi.org/10.1080/20539320.2020.1780810.

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35

Deligiorgi, Katerina. "Aesthetics and Material Beauty: Aesthetics Naturalized." Australasian Journal of Philosophy 89, no. 3 (September 2011): 560–62. http://dx.doi.org/10.1080/00048402.2011.562908.

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36

Wilson, Nick. "Aesthetics in a persecutory time: introducing Aesthetic Critical Realism." Journal of Critical Realism 19, no. 4 (July 19, 2020): 398–414. http://dx.doi.org/10.1080/14767430.2020.1771014.

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37

Bojanović, Kristina. "From aesthetical towards ethical: Myth and metaphor as mode of narrative in Levinas." SAJ - Serbian Architectural Journal 9, no. 2 (2017): 171–78. http://dx.doi.org/10.5937/saj1702171b.

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In this paper, I will try to show that Levinas's ethics contains the aesthetics of mythological narrative that has metaphorical ("as if" meaning) and archetypal dimension, while the relation between ethics and aesthetics will be explained by Levinas's perception of eros. These goals are based on the assumption that myth represents uroboric foundation of Levinas's philosophy by which he succeeded in getting rid of the egology of Western thought, but also from the experience of his own imagination. The myth speaks about universals through various representations, relations, characters, etc. Taki

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MARTIN, PATRICK. "BEING STRUCK: GADAMER ON THE CONTEMPORANEITY OF ART." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 10, no. 1 (2021): 286–304. http://dx.doi.org/10.21638/2226-5260-2021-10-1-286-304.

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With this article I offer a close reading of Gadamer’s Aesthetics and Hermeneutics. The reason I draw attention to this essay is as a response to criticism aimed at Gadamer’s hermeneutic account of art. In its reception, it has occasionally been viewed as too hermeneutical, too focused on understanding. I maintain that Aesthetics and Hermeneutics can be considered exempt from this critique. Here, Gadamer offers us the hermeneutic experience in its most aesthetic guise: in being struck by the significance of the artwork. The main purpose of this article is to clarify this experience. This task

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Gamba, Ezio. "The Problem of Individuality in Hermann Cohen’s Aesthetics." RUDN Journal of Philosophy 23, no. 4 (December 15, 2019): 413–19. http://dx.doi.org/10.22363/2313-2302-2019-23-4-413-419.

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Franz Rosenzweig devoted particular attention to the problem of individuality in Hermann Cohen’s philosophy. He writes that, in comparison with the individuality of the man of religion, “the human being about which aesthetics knew [...] fades now in all its aesthetic individuality to a ‘mere type’”. This statement is actually based on Cohen’s writings: in Ästhetik des reinen Gefühls (1912), Cohen explicitly maintains that the human being that is the object of artistic representation is not a type, but rather an individual. Just three years later, however, in his first book about philosophy of

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Selk, Eugene E. "Aesthetics." Teaching Philosophy 13, no. 2 (1990): 170–72. http://dx.doi.org/10.5840/teachphil199013224.

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Šuvaković, Miško. "Architecture and philosophy: Relations, potentialities and critical points." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 160–75. http://dx.doi.org/10.5937/saj1202160q.

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In the debate "Architecture and Philosophy / the relations, potentialities and critical points" the notions of "philosophy of architecture" and "aesthetics of architecture" will be discussed. The differences between traditional and contemporary philosophy and aesthetics of architecture will be introduced. In a separate sub-chapter the status of "theory" and "theorizing" during the times of late modernism and postmodern culture will be discussed. It has been pointed to the modalities of theory outside philosophy and aesthetics. The discourses from philosophy, humanities, free theorizing and arc

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Barba-Kay, Antón. "The Aesthetics of Agency in Kant and Schiller." Idealistic Studies 46, no. 3 (2016): 259–75. http://dx.doi.org/10.5840/idstudies201882069.

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One of the lasting influences of German Idealism has been the transformation of aesthetics into a central philosophical concern. My aim here is to show how and why Kant’s and Schiller’s formulations of the problems of moral agency, in particular, constitute an important episode of this development. I argue, first, that it is in the context of Kant’s view of moral agency that aesthetics gains larger purchase than it formerly had (as a response to the problem of the identification of an agent with his external action); second, that Schiller expands the role of aesthetics (in response to Kant’s f

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Fisher, Saul. "Aestheticism: Deep Formalism and the Emergence of Modernist Aesthetics." British Journal of Aesthetics 57, no. 4 (May 3, 2017): 437–40. http://dx.doi.org/10.1093/aesthj/ayw058.

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44

Shuangyu, Xue. "World Relational Aesthetics: A Modern-Day Continuation of Theological Aesthetics1." Contemporary Chinese Thought 51, no. 1 (January 2, 2020): 70–78. http://dx.doi.org/10.1080/10971467.2020.1768762.

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Pučiliauskaitė, Saulenė. "L. WITTGENSTEINO ESTETIKOS PAMOKOS." Problemos 75 (January 1, 2008): 108–18. http://dx.doi.org/10.15388/problemos.2008.0.1993.

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Straipsnyje aptariamos L. Wittgensteino mintys apie estetiką. Pagrindinis dėmesys yra skiriamas 1938-ųjų metų paskaitoms, t. y. estetikai, kylančiai iš „lingvistinio posūkio“. „Lingvistinio posūkio“ estetikos sritimi tampa žodžio „gražus“ vartojimo sritis. Straipsnyje pateikiamos skirtingų estetikos lygmenų aptartys bei paties Witttgensteino – neįvykusio menininko – mintys apie meninės kūrybos praktiką. Joje svarbiausios yra originalumo ir genialumo sąvokos. Pagrindiniai žodžiai: estetika, grožis, menas, originalumas, genialumas.Wittgenstein’s Lessons of AestheticsSaulenė Pučiliauskaitė Summar

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Ruin, Hans. "Nietzsche and the Aesthetics of Philosophy." Nietzsche-Studien 50, no. 1 (August 18, 2021): 320–28. http://dx.doi.org/10.1515/nietzstu-2021-0016.

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Abstract The review discusses four recent books and collections that approach in different ways the role of aesthetics in Nietzsche’s work, both as a question of poetic expression and as the shaping of sensibility. They testify to a deepening interest in the processes through which he forged his unique style. This involves micro-analyses of the composition of Nietzsche’s writings from the raw material of his notebooks. It also involves biographical and material contexts, as in Tobias Brücker’s monograph on the composition of The Wanderer and His Shadow. Instead of accepting the dichotomy betwe

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Ruin, Hans. "Nietzsche and the Aesthetics of Philosophy." Nietzsche-Studien 50, no. 1 (September 8, 2021): 320–28. http://dx.doi.org/10.1515/nietzstu-2021-500118.

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Abstract The review discusses four recent books and collections that approach in different ways the role of aesthetics in Nietzsche’s work, both as a question of poetic expression and as the shaping of sensibility. They testify to a deepening interest in the processes through which he forged his unique style. This involves micro-analyses of the composition of Nietzsche’s writings from the raw material of his notebooks. It also involves biographical and material contexts, as in Tobias Brucker’s monograph on the composition of The Wanderer and His Shadow. Instead of accepting the dichotomy betwe

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Миленковић, Душан. "ПРОМЕНА СТАВА СТУДЕНАТА ФИЛОЗОФИЈЕ ПОВОДОМ ДЕСЕТ ЕСТЕТИЧКИХ ТЕЗА – АНАЛИЗА ПОДАТАКА СПРОВЕДЕНОГ ИСТРАЖИВАЊА". ГОДИШЊАК ЗА ФИЛОЗОФИЈУ 3, № 1 (28 квітня 2021): 67–79. http://dx.doi.org/10.46630/gflz.3.2021.05.

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In this paper, I analyze the data obtained from the research conducted by the Department of Philosophy of the Faculty of Philosophy in Niš, Serbia during the academic year 2018/2019. The research collected data about the change of the attitude of students of philosophy regarding various theoretical statements, which students rated before and after attending courses in philosophy. By completing a specially prepared questionnaire before the first and after the second semester, students of the second year of philosophy evaluated, among other things, ten aesthetic statements. Analyzing the informa

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Dissel, Julia-Constance. "Form und Funktion." Deutsche Zeitschrift für Philosophie 68, no. 3 (May 5, 2020): 410–24. http://dx.doi.org/10.1515/dzph-2020-0027.

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AbstractThis essay deals with the terms “form” and “function” as well as their relationship insofar as they are still used in philosophical and design-theory discourse to determine the aesthetic dimension of designed artefacts, especially of everyday objects, and often also to distinguish them from objects of art. I discuss whether our common understanding of these terms and their relationship is an appropriate instrument for such determinations. What is up for discussion here are not only conceptions of functional beauty with regard to design methodology and the philosophical discourse on aes

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McGregor, Rafe. "A Literary Aesthetics of War Crime." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 135–53. http://dx.doi.org/10.52685/cjp.21.1.8.

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In order to develop a literary aesthetics of war crime, I examine the phenomenon of moral immunity in military memoir. Using three paradigmatic examples of memoirs of unjust wars characterised by the routine perpetration of war crimes, I argue that moral immunity is achieved by means of three literary devices: literary irresponsibility, ethical peerage, and moral economy. I then employ the proposed literary aesthetics of war crime to provide an answer to the perennial question of the relationship between literature and morality as well as to two specific instantiations of this question, the va

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