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Artículos de revistas sobre el tema "Philosophy and aesthetics"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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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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3

Belov, Vladimir N. "Art and culture: Aesthetic ideas of V.E. Sesemann." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 38, no. 2 (2022): 231–41. http://dx.doi.org/10.21638/spbu17.2022.207.

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The article provides an analysis of the aesthetic views of one of an interesting and original, but still, unfortunately, little studied Russian philosopher, V.E. Sesemann (1884–1963). Aesthetics occupied a leading position in Seseman’s philosophical constructions, while remaining fully embedded in the philosophy of the Russian thinker. Continuing the traditions of transcendental philosophy, Sesemann considers aesthetics as a general theoretical discipline that combines all private and separate studies of the theme of beauty. As in his theory of knowledge, the fundamental element of his aesthet

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4

Dr. Muhmmad Jawwad. "Influence of Kant’s Aesthetics on the Aesthetics of Collingwood." sjesr 6, no. 2 (June 30, 2023): 148–52. http://dx.doi.org/10.36902/sjesr-vol6-iss2-2023(148-152).

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R. G. Collingwood is supposed to be one of the most important Aesthetes of 20th Century. He was a multi-talented person having original ideas in the fields of Philosophical History (his most famous book is ‘Idea of History’), Aesthetics and Anthropology. He was a practitioner in the field of Archaeology and Music. His second most famous book is ‘Principles of Art.’ He is supposed to be an original philosopher of Art too. His Philosophy of Art has much to do and has much connections with the Aesthetics of Immanuel Kant. Kant was a multi-dimensional genius, presenting before the world very origi

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5

Śliwa, Marta. "Reception of Francis Hutcheson’s Views in Immanuel Kant’s Philosophy of the Power of Judgment." Studia Warmińskie 58 (December 13, 2021): 119–32. http://dx.doi.org/10.31648/sw.6452.

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The following dissertation aims at presenting the dependencies between the aesthetic theory by the Scottish philosopher Francis Hutcheson and the critic philosophy by Immanuel Kant. Those issues seem to be worth discussing in the light of some new research into the British aesthetics: particularly, for its significance in the field of newly created domain that aesthetic has become after Alexander Baumgarten and, mostly, after critical philosophy by Immanuel Kant. The comparison of the views held by Hutcheson and Kant shows the importance of the theory of beauty presented by the Scottish philos

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6

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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7

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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8

Siraj, Fuad Mahbub, and Zikraini Alrah. "The Concept of Islamic Aesthetic of Abdul Hadi WM." KALAM 16, no. 2 (December 31, 2022): 157. http://dx.doi.org/10.24042/klm.v16i2.14648.

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This study aims to see how the concept of Islamic aesthetics in the thought of Abdul Hadi WM. Aesthetics is an interesting discourse to study because aesthetics is one of the five branches of philosophy that relate to values that are contained in something or arise from human actions. Although the values contained in aesthetics are very important and are always relevant in human life, the fact is that aesthetics receive less attention in philosophical studies. One reason is the narrow view that aesthetics is only related to art. Abdul Hadi WM sees an important aesthetic in the realm of philoso

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9

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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10

Kormin, Nikolay A. "Aesthetics and Metaphysics: Collisions of Modernity." Voprosy Filosofii, no. 8 (2023): 70–73. http://dx.doi.org/10.21146/0042-8744-2023-8-70-73.

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The article deals with the topic of the relationship between aesthetics and metaphysics. It considers how this relation emerges in some areas of modern philosophizing – domestic and foreign. The author pays special attention to how it is read in the actual-sounding meanings of the classical tradition. Laying down the boundaries within transcendental metaphysics (it goes without saying that the boundaries themselves can change, reshape, be revised), Kant in the third “Critique” believes that the principles of the ability of aesthetic judgment are not part of metaphysics, but can only be adjac

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11

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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12

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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13

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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14

Grubor, Nebojsa. "Heidegger’s aesthetics. The philosophy of finite human freedom and basic moods and emotions." Filozofija i drustvo 32, no. 3 (2021): 418–27. http://dx.doi.org/10.2298/fid2103418g.

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The first part of the text poses the question whether for Heidegger?s aesthetically relevant thought it is better to use older terms, such as ?Heidegger?s Doctrine of Art? or ?Heidegger?s Philosophy of Art?, or a more recent term ?Heidegger aesthetics?? Does the term ?Heidegger?s aesthetics? represent an ?oxymoron? contrary to the intentions of Heidegger?s own philosophy, or does it signify a relevant aesthetic conception that has its own place in contemporary philosophical aesthetics? In order to answer these questions, the text considers Heidegger?s understanding of aesthetics as a philosoph

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15

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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16

Guss, Aleksandra. "Aesthetics of Law." McGill GLSA Research Series 1, no. 1 (November 22, 2021): 1–17. http://dx.doi.org/10.26443/glsars.v1i1.137.

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The aesthetics of law appears as one of the parts of the philosophy of law that focuses on the relationship between law and aesthetical values, in their broadest sense. The aesthetics of law can be closed in its three dimensions: external, internal and the approach defined as "law as a tool of aestheticization”. This division was made from the perspective of the subject of research, which is the law. The third dimension refers to the law as "tool of aestheticization” of everyday life, which indicates the aesthetic function of law, implemented mainly by legal regulation and the legal norms they

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17

Castro, Sixto J. "Beyond Theological Aesthetics: Aesthetic Theology." Religions 13, no. 4 (April 1, 2022): 311. http://dx.doi.org/10.3390/rel13040311.

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In this text, I explore what I have termed “aesthetic theology”. After noting the transference of religious content, function, etc., to art in Modernity, an act that has made art a locus theologicus once again, I analyse one of the main consequences of this phenomenon: art is progressively being considered through what was once purely theological categories, thus giving rise to aesthetic theology. The implication is that some of the solutions that have arisen from theological debate might be useful in the philosophy of art. I also suggest that aesthetic theology can provide theology with a gen

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18

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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19

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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20

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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21

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

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22

Van Gerwen, Rob. "Aesthetics as First Philosophy." Aesthetic Investigations 1, no. 1 (July 17, 2015): i—ii. http://dx.doi.org/10.58519/aesthinv.v1i1.12000.

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23

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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24

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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25

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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26

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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27

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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28

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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29

Kiianlinna, Onerva. "Aesthetic Gadgets: Rethinking Universalism in Evolutionary Aesthetics." Philosophies 7, no. 4 (June 21, 2022): 71. http://dx.doi.org/10.3390/philosophies7040071.

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There is a growing appetite for the inclusion of outcomes of empirical research into philosophical aesthetics. At the same time, evolutionary aesthetics remains in the margins with little mutual discussion with the various strands of philosophical aesthetics. This is surprising, because the evolutionary framework has the power to bring these two approaches together. This article demonstrates that the evolutionary approach builds a biocultural bridge between our philosophical and empirical understanding of humans as aesthetic agents who share the preconditions for aesthetic experience, but are

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30

Shevchuk, Dmytro, and Kateryna Shevchuk. "Aesthetics and Politics." Symposion 10, no. 2 (2023): 261–73. http://dx.doi.org/10.5840/symposion202310215.

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The paper examines the relationship between aesthetics and politics. In modern humanities, we can find few conceptions of this relationship. These conceptions are not only part of political philosophy or political theory, but also a methodological instrument for analyzing modern politics and aesthetics. They provide an opportunity to understand both the features of contemporary politics and the state of modern aesthetic theory in light of the significant changes that have affected both of these spheres. This article analyzes the main models of the relation between aesthetics and politics. We i

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31

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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32

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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33

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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34

Maksimov, M. V. "“Second after Aquinas ...”: Hans Urs von Balthazar on the Philosophical Aesthetics of V.S. Solovyov." Solov’evskie issledovaniya, no. 4 (December 28, 2023): 81–96. http://dx.doi.org/10.17588/2076-9210.2023.4.081-096.

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The analysis of the book by the Swiss philosopher and theologian H.U. von Balthazar “Vladimir Solovyov”, dedicated to the reconstruction and interpretation of the aesthetic teachings of V.S. Solovyov, is presented. The main themes of Balthazar's work are considered, defining its structure in accordance with the author's vision of the main stages of Solovyov's work: “Visionary and textual form”, “Logic and Metaphysics”, “Ethics and Ecclesiology”, “Aesthetics and Apocalypticism”. The author notes the harmony and consistency of Balthazar's concept, the logic of interpretation of the most importan

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35

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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36

Culbertson, Leon, and Graham McFee. "The Best Way to Locate a Purpose in Sport: Considerations in Aesthetics?" Aesthetic Investigations 1, no. 2 (December 20, 2016): 191–213. http://dx.doi.org/10.58519/aesthinv.v1i2.11989.

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The paper highlights the centrality of some concepts from philosophy of sport for philosophical aesthetics. Once Best (BJA, 1974) conclusively answered negatively the fundamental question, ‘Can any sport-form be an artform?’, what further issues remained at the intersection of these parts of philosophy? Recent work revitalizing this interface, especially Mumford’s Watching Sport (2012), contested Best’s fundamental distinction between purposive and aesthetic sports, and insisted that purist viewers are taking an aesthetic interest in sporting events. Here, we defend Best’s conception against c

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37

Magdalena, Elsa, Destri Natalia, Andry Pranata, and Nicolhas Jurdy Wijaya. "Filsafat dan Estetika Menurut Arthur Schopenhauer." Clef : Jurnal Musik dan Pendidikan Musik 3, no. 2 (December 31, 2022): 61–77. http://dx.doi.org/10.51667/cjmpm.v3i2.1111.

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Aesthetics is a branch of philosophy, which specifically discusses beauty and taste, how they can be formed, and how they can be enjoyed. Beauty is not only about things that can be seen, but also about things that can be heard. Depending on the assessment objectively and subjectively. Music also has aesthetic value. It depends on what theory is used to judge the beauty of the music. This research uses descriptive-qualitative with a literature approach. In this case, it is not only about aesthetics, but also literature on music, and philosophers who discuss aesthetic philosophy.

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38

Kormin, Nikolai Aleksandrovich. "I. Kant: Aesthetics and metaphysics as a science." Философия и культура, no. 10 (October 2023): 1–53. http://dx.doi.org/10.7256/2454-0757.2023.10.43687.

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The purpose of this article is to reveal how aesthetics is embedded in the way of substantiating metaphysics as a science, how its thinking skills are honed during the "rehearsal of the beginning" carried out on the stage of the "Critique of Pure Reason". The aesthetic voice is expressed in a metaphysical discourse involving a dispute about the foundations of knowledge, these foundations themselves are explicated at a fundamental level by the consciousness of changing proportions – these initial aesthetic categories. In this context, it is necessary to reveal the role of aesthetics as a fundam

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39

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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Konanchuk, S. V. "Путь эстетика в искусстве (К юбилею Е.Н. Устюговой)". Studia Culturae, № 58 (21 березня 2024): 30. http://dx.doi.org/10.31312/2310-1245-2023-58-30-38.

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<span lang="EN-US">The article is dedicated to E. N. Ustyugova, a famous Russian scientist, specialist in the field of aesthetics and philosophy of culture. The article indicates the main areas of research by E. N. Ustyugova, including: the </span><span lang="EN-US">history of aesthetics, </span><span lang="EN-US">the history of artistic styles, the art and aesthetics of the Russian avant-garde, environmental aesthetics, ethical and aesthetic problems of modern urbanism, the city as a unity of the ecology of nature and the ecology of culture, etc. It is noted that

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41

Schulenberg, Ulf. "Pragmatist Aesthetics and Nietzsche." Transactions of the Charles S. Peirce Society: A Quarterly Journal in American Philosophy 59, no. 2 (March 2023): 167–89. http://dx.doi.org/10.2979/trancharpeirsoc.59.2.02.

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Abstract: It is difficult to approach a phenomenon as complex as the renaissance of pragmatism without considering the contemporary significance of pragmatist aesthetics. At the same time, however, one ought to note that pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey's aesthetics. In pragmatist studies, the problematic consequences of Dewey's idealism in aesthetics have been insufficiently criticized. In order to confront this desideratum, pragmatist aesthetics ought to establish a dialogue with continental aesthetics. This essay

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42

Schulenberg, Ulf. "Pragmatist Aesthetics and Nietzsche." Transactions of the Charles S. Peirce Society: A Quarterly Journal in American Philosophy 59, no. 2 (March 2023): 167–89. http://dx.doi.org/10.2979/csp.2023.a906860.

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Abstract: It is difficult to approach a phenomenon as complex as the renaissance of pragmatism without considering the contemporary significance of pragmatist aesthetics. At the same time, however, one ought to note that pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey's aesthetics. In pragmatist studies, the problematic consequences of Dewey's idealism in aesthetics have been insufficiently criticized. In order to confront this desideratum, pragmatist aesthetics ought to establish a dialogue with continental aesthetics. This essay

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43

Zuska, Vlastimil. "Funkce Rozumu v estetickém prožitku." Teorie vědy / Theory of Science 32, no. 1 (August 22, 2010): 227–34. http://dx.doi.org/10.46938/tv.2010.50.

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The study considers Whitehead’s conception of the Reason (articulated especially in his The Function of Reason) as a regulative factor in every aesthetic experience along with Whitehead’s opinion of the basic aesthetic character of every experience. These thoughts are compared with contemporary findings of neuroaesthetics and the Reception aesthetics, in order to demonstrate how stimulating Whitehead’s philosophy is even for the present-day aesthetics.

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44

Hetrick, Jay. "Deleuze and the Kyoto School II." Asian Studies 11, no. 1 (January 10, 2023): 139–80. http://dx.doi.org/10.4312/as.2023.11.1.139-180.

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The aim of this paper is to bring Gilles Deleuze and the Kyoto School into an imaginary conversation around the idea of philosophy as a way of life, or what I call ethico-aesthetics. I first show how ethico-aesthetics in the Kyoto School modernizes the traditional notion of geidō, or ways of art, through the language of continental philosophy. Even though the discourse they construct in this respect remains less rigorous than that of the other domains of philosophy with which they engage, the ethico-aesthetic concepts of Nishida Kitarō, Nishitani Keiji, and Ōhashi Ryōsuke provide a starting po

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45

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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Perullo, Nicola. "Aesthetics without Objects: Towards a Process-Oriented Aesthetic Perception." Philosophies 7, no. 1 (February 21, 2022): 21. http://dx.doi.org/10.3390/philosophies7010021.

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In this paper, I suggest an aesthetic model that is consistent with anti-foundational scientific knowledge. How has an aesthetics without foundation to be configured? In contrast to the conventional subject/object model, with idealistic and subjective aesthetics, but also with object-oriented assumptions, I suggest that aesthetics has to be characterized as relational aesthetics in terms of process-oriented perception and that this leads to an Aesthetics Without Objects (AWO) approach. The relational nature of processes means that they do not happen inter-, that is, between ontologically delim

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Xinzhu, Zhao. "The development of Russian aesthetics in the 21st century." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-1 (March 1, 2023): 194–203. http://dx.doi.org/10.31166/voprosyistorii202303statyi30.

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The philosophy of being, or the philosophy of existence, is the subject of ontology. The ontological aspect of the aesthetic is the aspect of the existence of this aesthetic in objective reality. In this regard, it is necessary to say about the aesthetics of being itself. The characteristics of being are aesthetic in nature. They are ontological and aesthetic. This is clearly visible when we touch on such categories as rhythm, measure, harmony, proportion, symmetry. These categories indicate, first of all, the balance of being, which is inherently vital and acceptable for a person.

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Kormin, Nikolai Aleksandrovich. "I. Kant: aesthetics and the world concept of philosophy." Философия и культура, no. 9 (September 2023): 15–105. http://dx.doi.org/10.7256/2454-0757.2023.9.43689.

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The objective of this study is to identify inimitable examples of the introduction of aesthetic content into the Western European metaphysical tradition, as it was embodied in Kant's understanding of the world concept of philosophy, which has certain aesthetic connotations. In the article, the author analyzes new stages of the movement towards the world concept of philosophy, on which the aesthetic meaning of the basic structures of transcendentalism is explicitly or implicitly realized: the art of schematism as a world concept of epistemology; the world concept of art as an organ of understan

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Hales, Steven D. "AUDIOPHILE AESTHETICS." American Philosophical Quarterly 54, no. 2 (April 1, 2017): 195–208. http://dx.doi.org/10.2307/44982136.

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Abstract What little work has been done on high fidelity/audiophile aesthetics uniformly agrees that the aesthetic aim of high fidelity is to achieve maximum transparency—the degree to which the listening experience is qualitatively identical to hearing the live instruments. The present paper argues that due to modern recording techniques, transparency is often impossible and may not be the proper aesthetic goal even in cases of documentary recordings. Instead, audiophilia should be understood as a broadly pluralist artistic endeavor that aims at an idealized generation of a musical event. Thi

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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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