Relevant bibliographies by topics / Thick aesthetic concepts

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Academic literature on the topic 'Thick aesthetic concepts'

Author: Grafiati
Published: 4 June 2025
Last updated: 1 August 2025

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Journal articles on the topic "Thick aesthetic concepts"

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BONZON, ROMAN. "Thick Aesthetic Concepts." Journal of Aesthetics and Art Criticism 67, no. 2 (2009): 191–99. http://dx.doi.org/10.1111/j.1540-6245.2009.01348.x.

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Hoffmann, Kai-Uwe. "Normativity and Thick Aesthetic Concepts." Aesthetic Investigations 1, no. 2 (2016): 319–27. https://doi.org/10.5281/zenodo.4027399.

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Thick aesthetic concepts such as ‘gracious’, ‘delicate’ and ‘virtuous’ are, according to the standard theory, characterised as both descriptive and evaluative. In the first part of this paper (I), I examine Sibley’s study of normativity with regard to his version of thick aesthetic concepts. In the second part (II), I concentrate on Zangwill’s recourse to Grice’s theory of implicature and the normative demands this move makes on the process. Finally (III), I develop a sketch that shows which contextual considerations precede the selection p
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Hoffmann, Kai-Uwe. "Normativity and Thick Aesthetic Concepts." Aesthetic Investigations 1, no. 2 (2016): 319–27. http://dx.doi.org/10.58519/aesthinv.v1i2.11997.

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 Thick aesthetic concepts such as ‘gracious’, ‘delicate’ and ‘virtuous’ are, according to the standard theory, characterised as both descriptive and evaluative. In the first part of this paper (I), I examine Sibley’s study of normativity with regard to his version of thick aesthetic concepts. In the second part (II), I concentrate on Zangwill’s recourse to Grice’s theory of implicature and the normative demands this move makes on the process. Finally (III), I develop a sketch that shows which contextual considerations precede the selection process of thick aesthetic concepts and how norm
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Wang, Yifan, and Yaluo Bai. "Aesthetic Exploration and Identity Perception of Body Hair." Highlights in Art and Design 7, no. 1 (2024): 1–4. http://dx.doi.org/10.54097/c2a51059.

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Traditionally, thick male body hair is seen as a symbol of masculinity, while women tend to seek a smooth state of body hair as a reflection of softness and beauty. As aesthetic concepts change, more and more people are embracing and celebrating body hair in its natural state, viewing it as a direct expression of their unique style and self-confidence. In this article, we firstly explain the development of body hair removal by introducing the history of hair removal, then further explore the aesthetics and identity perception of body hair by sorting out the relationship among body hair, gender
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Oliva, Stefano. "Risonanze della Teoria della Formatività di Luigi Pareyson nell’Estetica Musicale Contemporanea." Philosophy of Music 74, no. 4 (2018): 1077–92. http://dx.doi.org/10.17990/rpf/2018_74_4_1077.

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In spite of its limited influence on Italian Aesthetics, Luigi Pareyson’s Aesthetics. Theory of formativity is often cited in the contemporary debate about Aesthetic of music. In this paper I will present the context and reception of Pareyson’s theory of formativity, one of the main post-Crocian aesthetic theories. Then, I will introduce some of the key concepts of Pareyson’s Aesthetics as person, form and interpretation; at last, I will show the relevance of these concepts for issues such as: musical gesture, improvisation, written and not written music, musical ontology. Although these terms
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Innis, Robert E. "Peirce and Dewey think about art: Quality and the theory of signs." Semiotica 2019, no. 228 (2019): 103–33. http://dx.doi.org/10.1515/sem-2018-0079.

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AbstractMy goal in this essay is not to investigate the sources, systematic applications, extensions, or coherence of Peirce’s admittedly fragmentary remarks on aesthetics, tasks that have been undertaken by others. Rather, I want, with both historical and systematic intent, to draw attention to some important links between Dewey’s aesthetic use of Peirce’s theory of quality and the remarkable, albeit not thematic, reconstitution in Dewey’s explicitly experiential or perception based aesthetics of central Peircean distinctions and typologies that bear upon the putative aesthetic importance of
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Gannon, Matthew. "The Aesthetic Death Drive of Modernism." differences 31, no. 2 (2020): 58–85. http://dx.doi.org/10.1215/10407391-8662174.

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This essay argues not only that Wilhelm Worringer’s concept of the urge to abstraction from his work of art history Abstraction and Empathy (1908) prefigures Sigmund Freud’s notion of the death drive in Beyond the Pleasure Principle (1920) but also that Worringer’s aesthetics of nonrepresentational art solves in advance some key problems that Freud had in accounting for the modernism of his day. Though Worringer and Freud did not appear to ever engage with each other, their two central concepts share a high degree of compatibility, and it is possible to think of Worringer’s urge to abstraction
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Altynbaeva, Gulnara M. "“WORLDVIEW GEOGRAPHY” OF THE WRITER: JUSTIFICATION OF THE CONCEPT (ON THE MATERIAL OF A. I. SOLZHENITSYN’S LITERARY WORKS)." Proceedings of Southern Federal University. Philology 26, no. 1 (2022): 129–37. http://dx.doi.org/10.18522/1995-0640-2022-1-129-137.

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The article presents the substantiation of the literary concept «writer’s “worldview geography”» put forward by the author as one of the aesthetic principles of A.I. Solzhenitsyn. The author of the article aims at proving that the inclusion of the proposed concept in scientific circulation is relevant for the study of the writer’s aesthetics. Understanding the «writer’s “worldview geography”» as an aesthetic principle of the writer, which is realized in travel notes and literary texts about the journey based on the impressions of the trip, the author of the study insists that, choosing a place
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Moosa, Ebrahim. "Aesthetics and Transcendence in the Arab Uprisings." Middle East Law and Governance 3, no. 1-2 (2011): 171–80. http://dx.doi.org/10.1163/187633711x591512.

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Politics is regarded as a science for it tells us what to do, when it deals with measurable concepts. But politics is also an art—a form of practice, telling us how and when to do things. Lest we forget, the arts of persuasion and inspiration are part of politics. And, every art also produces an aesthetic. By aesthetics I mean, the ways by which we think about art: recall, art is what we do and how we do things. Th ose things and acts that become visible when we do and produce certain actions—jubilation, conversations, speeches, greetings, protests, banners, deaths, wounds and other expression
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Hacohen-Bick, Tafat. ""And Whatever Corner You Turn It's Either Garbage and Dirt or a Beard and Sidelocks": Agnon on Jews, Dirt, and Garbage." Shofar: An Interdisciplinary Journal of Jewish Studies 42, no. 2 (2024): 68–87. https://doi.org/10.1353/sho.2024.a946468.

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Abstract: This article examines the aesthetics of dirt in Shmuel Yosef Agnon's writing, through the perspective of the Anthropocene. I argue that the climate crisis requires a rethinking of many aspects of human life, including the way we think about consumerism, physical objects, bodily fluids, and filth. Agnon's writing — situated and struggling between two opposing aesthetic orders — can function as a valuable opportunity for rethinking these issues. I start with two moments of filth: The very short story "Three Sisters," and the story about Firadeus's father in the novel Shira . In the mai
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Books on the topic "Thick aesthetic concepts"

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Kirchin, Simon. Thick Evaluation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803430.001.0001.

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We use evaluative terms and concepts every day, in talk of ethics, aesthetics, politics, and when we discuss common-or-garden issues. We call actions right and wrong, teachers wise and ignorant, and children annoying and angelic. Philosophers place evaluative concepts into two camps. Thin concepts, such as goodness and badness, and rightness and wrongness have evaluative content, but they supposedly have no or hardly any nonevaluative, descriptive content: they supposedly give little or no specific idea about the character of the person or thing described. In contrast, thick concepts such as k
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Zitin, Abigail. Practical Form. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300244564.001.0001.

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In early eighteenth-century Britain, writers asked after the nature and causes of the pleasure we feel when we encounter beauty. It took a painter, however, to steer the nascent field of philosophical aesthetics toward questions of spatial form. Drawing inspiration from William Hogarth’s 1753 treatise on beauty, this book traces the development of form as a concept in and for aesthetics. Hogarth’s experience as a draftsman and printmaker guided his dissent from the developing consensus on aesthetic pleasure and standards of taste. The immediate cause of aesthetic pleasure, he argues, is beauti
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Collins, Nicolas. Semi-Conducting. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9798765127599.

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Written by a composer long immersed in new and experimental music, this book provides a tour of the music, technologies and people that have transformed how we make, hear and think about sound over the past fifty years. As both a participant and critical observer in the post-Cagean musical landscape, Nicolas Collins uses anecdotes and analysis to survey the history and aesthetics of the musical avant-garde. Among the topics explored are: relationships between popular culture and the avant-garde; the shifting definitions of improvisation and composition in a world where musical scores might tak
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Cutter, Mary Ann G. How Is Breast Cancer Evaluated? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190637033.003.0004.

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The question “How is breast cancer evaluated?” raises a host of considerations, including ones about the role of values in clinical concepts, the kinds of clinical values in medical thinking, and the extent to which our evaluations of clinical phenomenon provide clinical certainty. What we find is that, initially, breast cancer is a treatment warrant and appears to fit the view of a clinical entity that is value-neutral. But things are not as simple as one would initially think. Upon reflection, descriptions and explanations of breast cancer are nested in evaluative frames of reference through
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Mikkola, Mari. Pornography. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190640064.001.0001.

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Everyday and philosophical debates concerning pornography are fraught with many difficult questions. These include: What is pornography? What does pornography do (if anything at all)? Is the consumption of pornography a harmless private matter, or does pornography violate women’s civil rights? What, if anything, should legally be done about pornography? Can there be feminist pornography? Answering these questions is complicated by confusion over the conceptual and political commitments of different anti- and pro-pornography positions, and whether these positions are even in tension with one an
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Glaser, Ben, and Jonathan Culler, eds. Critical Rhythm. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282043.001.0001.

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This collection intervenes in recent debates over formalism, historicism, poetics, and lyric by focusing on one of literary criticism’s most important, most vested, and perhaps least well-defined or definable terms. Rhythm in these essays is at once a defamiliarizing aesthetic force and an unstable concept. It is a key term through which Romantic, Modern, and contemporary literary theory define form, either in conversation with or opposition to meter. It has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poet
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Costanzo, William V. When the World Laughs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.001.0001.

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This is a book about the intersection of humor, history, and culture. It explores how film comedy, one of the world’s most popular movie genres, reflects the values and beliefs of those who enjoy its many forms, its most enduring characters and stories, its most entertaining routines and funniest jokes. What people laugh at in Europe, Africa, or the Far East reveals important truths about their differences and common bonds. By investigating their traditions of humor, by paying close attention to the kinds of comedy that cross national boundaries and what gets lost in translation, this study le
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Varas-Díaz, Nelson, and Niall Scott, eds. Heavy Metal Music and the Communal Experience. Published by Lexington Books, 2016. https://doi.org/10.5040/9781666999310.

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It is common to hear heavy metal music fans and musicians talk about the “metal community”. This concept, which is widely used when referencing this musical genre, encompasses multiple complex aspects that are seldom addressed in traditional academic endeavors including shared aesthetics, musical practices, geographies, and narratives. The idea of a “metal community” recognizes that fans and musicians frequently identify as part of a collective group, larger than any particular individual. Still, when examined in detail, the idea raises more questions than answers. What criteria are used to de
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Richter, Gerhard. Thinking with Adorno. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284030.001.0001.

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What Theodor W. Adorno says cannot be separated from how he says it. By the same token, what he thinks cannot be isolated from how he thinks it. The central aim of Thinking with Adorno: The Uncoervice Gaze is to examine how these basic yet far-reaching assumptions teach us to think with Adorno—which is to say, both alongside him and in relation to his diverse contexts and constellations. These contexts and constellations range from aesthetic theory to political critique, from the problem of judgment to the difficulty of inheriting a tradition, from one’s orientation in the work of art and the
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Book chapters on the topic "Thick aesthetic concepts"

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Jacob Ramalho, Joana. "Introduction: The Gothic Aesthetic." In Palgrave Gothic. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-73628-5_1.

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AbstractThis book defines the cinematic Gothic as an intergeneric, transnational, and transhistorical aesthetics of memory. It suggests that the cross-border movements of those I call ‘travelling directors’ had a crucial impact on the emergence, development, and dissemination of the Gothic. This approach expands the canon to filmmakers and national traditions that have not received much attention in the context of the Gothic and supports an examination of the aesthetic as exilic at its core. I consider memory and processes of manual re-membering to be structural to the aesthetic’s carefully st
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Rimas, Juozas, and Juozas Rimas Jr. "Musical Thinking." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_23.

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AbstractMusical thinking and musical logic (J. N. Forkel, J. F. Herbart). Thinking and logic; thinking for oneself (M. Heidegger, I. Kant). Thinking about music versus thinking music. Musical thinking as reflecting the aesthetic content of music: thought is acquiescence in Being, a giving of thanks for that which has been placed in our custody (das Denken dankt—“thinking thanks”: M. Heidegger). The rational transmission of intellectual content makes it easier to perceive emotional content (M. Budriūnas). 23.1. Reflection. Perceiving vs. reflection (E. Husserl). Thinking is secondary to our exp
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Turner, Chris. "Exploring Aesthoecology: Affective Anticipation, Liminality and Emergence as Features of Alternative Educational Futures." In Creative Ruptions for Emergent Educational Futures. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-52973-3_3.

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AbstractAesthoecology is an onto-epistemology that interrogates the relationship between the aesthetic, ecological and ethical dimensions of education. This involves the exploration of notions such as liminality, emergence, and affective anticipation, all of which are features of dynamic systems. These elements of theory are discussed to support the concept of aesthoecology as a framework of ideas, and a creative vocabulary, which critically questions some of the established ways of being, doing and becoming in current educational practice.Theorising and philosophising provide the freedom to t
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Zangwill, Nick. "Moral Metaphor and Thick Concepts: What Moral Philosophy Can Learn from Aesthetics." In Thick Concepts. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199672349.003.0011.

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Lloyd, David. "The Aesthetic Taboo: Aura, Magic, and the Primitive." In Under Representation. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282388.003.0006.

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“The Aesthetic Taboo” concerns the place of primitive anthropology in the aesthetic theory of Walter Benjamin and Theodor Adorno. It traces the influence of Freud’s Totem and Taboo through their work, in the concepts myth, magic, and aura. Neither thinker ever manages to escape the historical narrative of aesthetics: the transition from a state of necessity that defines the Savage as pathological subject, through a state of domination to an ideal state of freedom. Adorno and Benjamin continue to think within the traditions of Kant and Schiller. Yet in Aesthetic Theory magic images the sensuous
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Eaton, Marcia Muelder. "Serious Problems, Serious Values Aesthetic Dilemmas." In Merit, Aesthetic and Ethical. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195140248.003.0006.

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Abstract AESTHETIC formalists, I have said, are motivated by a desire to give the aesthetic its proper due. One cannot help sympathizing with them. D. Z. Philips’s attitude that whoever cares a whit about morality will always put it first is not at all uncommon. Too often we are told that aesthetic considerations are “extras”—luxuries to be indulged in after real concerns have been taken care of. Classes in the arts are often the first to be cut when retrenchment strikes schools systems. Bands and ceramics courses are “frills;’ compared with language and mathematics skills, it is assumed. I be
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Ridley, Aaron. "Acting for Aesthetic Reasons." In Singularities. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191938337.003.0005.

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Abstract It seems natural to think that there are aesthetic reasons for action and that an artist must be guided by such reasons as he or she sets about her canvas or poem or symphony or marble. This latter supposition seems at odds, however, with the views of one of the last century’s most important philosophers of art, R.G. Collingwood. Here, we propose an account of acting for aesthetic reasons inspired by G.E.M. Anscombe’s Intention, and specifically by her concept of ‘practical knowledge’, which we believe can accommodate Collingwood’s reservations about the sort of knowledge of their end
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Moland, Lydia L. "The Dissolution and Future of the Particular Arts." In Hegel's Aesthetics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847326.003.0006.

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As the romantic age progresses, humans’ increasing sense of themselves as the source of normativity is reflected in art. Finally, anything of human concern can become art: a fact reflected in Dutch genre painting, still lifes, and the development of humor. As a new aesthetic form during Hegel’s lifetime, humor denoted gentle amusement at human eccentricities and foibles, as expressed by characters in Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman. Hegel is sharply critical of “subjective humorists,” such as Jean Paul Richter, who think anything to do with their subjectiv
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Musser, Amber Jamilla. "Introduction." In Sensual Excess. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479807031.003.0001.

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This chapter analyzes Lyle Ashton Harris’s performative self-portrait of himself citing Billie Holiday—Billie #21 (2002)—as an entry point into illustrating the ways that thinking with the pornotrope challenges understandings of sexuality by pointing to the presence of violence in relation to black and brown bodies. The chapter then introduces the concept of brown jouissance as a way to think about race in concert with psychoanalysis and in order to think about projects of selfhood in relation to fleshiness. Ultimately, the chapter argues that Billie #21 illuminates brown jouissance through it
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Acevedo, Beatriz, and Romas Malevicius. "Rethinking Education for Sustainability in Management Education." In Handbook of Research on International Business and Models for Global Purpose-Driven Companies. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4909-4.ch012.

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Education for sustainable development (ESD) initially emerged around the 1990s, and it has opened the possibility to re-think areas such as management education. Although the original purpose of inclusiveness and creativity has been gradually replaced by metrics, while keeping the idea of “development as growth” largely unquestioned, drawing upon the work of organisational researchers like Heather Hopfl, this chapter presents a critique of the evolution of ESD in the UK revealing a rationale that transforms guiding principles into metrics, emphasising “efficiency” over “care.” The researchers
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Conference papers on the topic "Thick aesthetic concepts"

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Griffin, Derex. "An Action Research Framework Supporting AI Portfolio Inclusion." In 12th IPMA Research Conference “Project Management in the Age of Artificial Intelligence”. International Project Management Association – IPMA, IPMA USA, 2024. http://dx.doi.org/10.56889/ktjd4311.

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A federal government entity charges an Integrated Product Team (IPT) with executing a Proof-of-Concept pilot study as they contemplate more Artificial Intelligence (AI) portfolio inclusion. To mitigate the risk associated with the organization’s novelty with AI components as well as research-informed concerns at large, five deliverables were mandated. First, the team would deliver a sample of AI components representative of the organization’s current strategic targets. Next, these components would then be categorized to facilitate a basis for analysis and scoring. Engaging study participants i
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Salema Roby, Benedita. "GRAFFITI | DA TRANSGRESSÃO NO ESPAÇO PÚBLICO. Pelos Espaços de Incerteza." In Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2024. http://dx.doi.org/10.5821/siiu.12724.

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Through an analysis of the public space in late modernity, this dissertation proposes to think of graffiti as a possible rescue of the place, in the context of a growing homogeneous mass of non places, as argued by Augé. In doing so, other ways of producing the city are suggested, both in effective and meaningful terms, to the extent that the experience of graffiti is proposed as an act of resistance to spatial orthodoxy and exclusion. Since the recognition of this practice should never be regarded in terms of legality — thus running the risk of losing the subversive quality of the phenomenon
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Zhan, Yuling, and Chunheng Ho. "Correlation research on early-stage Design Data Search Strategies and Design Quality." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004826.

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Data searching is an essential process in design, and research within the design field indicates a distinction in how expert designers and novice designers approach design problems. Expert designers, possessing a wealth of specialized knowledge, tend to search for additional information less frequently during the design process. In contrast, novice designers, due to their lack of professional knowledge, often need to search for, redefine, or organize information. (Ho, 2001; Cross et al., 1994). Consequently, novice designers tend to spend a significant amount of time repeatedly searching for i
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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Ga
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