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Artykuły w czasopismach na temat „Aesthetics and Theory of Arts”

Autor: Grafiati

Data publikacji: 3 czerwca 2025

Data aktualizacji: 31 lipca 2025

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1

Yoo, Hyun-Joo. "Disability Arts and Disability Aesthetics." Criticism and Theory Society of Korea 29, no. 3 (2024): 207–39. http://dx.doi.org/10.19116/theory.2024.29.3.207.

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Disability aesthetics has emerged in the modern/contemporary era as a critical approach that challenges traditional notions of beauty, wholeness, and normalcy in art. By centering the experiences and perspectives of disabled individuals, disability aesthetics seeks to subvert ableist assumptions and stereotypes, presenting disability as a natural part of human diversity. This paper aims to explore how disability aesthetics challenges ableism, expands our understanding of art and beauty, and brings about societal changes through a critical analysis of various examples of disability arts in the

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Shusterman, Richard. "Art, Eros, and Liberation: Aesthetic Education between Pragmatism and Critical Theory." Journal of Aesthetic Education 58, no. 1 (2024): 1–24. http://dx.doi.org/10.5406/15437809.58.1.01.

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Abstract After showing how pragmatist aesthetics and Marcuse's critical theory affirm aesthetic education as key to transforming society toward greater freedom, equality, pleasure, and fulfillment, I compare the ways these two approaches differently perceive the scope and role of aesthetics in such transformation. Whereas Marcuse identifies the aesthetic dimension with the realm of high art, pragmatism understands this dimension far more broadly to include the popular arts and somaesthetic arts of living. Because Marcuse identifies art's critical function through its oppositional transcendence

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Berleant, Arnold. "What is Aesthetic Engagement?" International Yearbook of Aesthetics 18 (January 1, 2015): 17–19. https://doi.org/10.17613/M60G3GX6W.

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Aesthetic engagement is the central concept of an aesthetic theory that came as an alternative to the aesthetic disinterestedness of traditional aesthetics. It emerged in response to developments in the contemporary arts that emphasized the direct involvement of an active appreciator in the art object, overcoming the customary separation between them. Aesthetic engagement thus rejects the dualism inherent in customary accounts of aesthetic appreciation and epitomized in Kantian aesthetics, which treats aesthetic experience as the subjective appreciation of a beautiful object. Instead, aestheti

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Maryono, Maryono, Mamik Suharti, and Cahyani Tunggal Sari. "Standardized Hastasawanda Aesthetics in Dance Performing Arts." Journal of Education Culture and Society 15, no. 2 (2024): 683–701. http://dx.doi.org/10.15503/jecs2024.2.683.701.

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Aim. This research is important because so far the existing aesthetic concept of traditional dance is no longer able to accommodate thinking about aesthetic concepts holistically. The aim of the standardisation study of performing arts aesthetics is to form a new aesthetic theory that meets standards based on the principles of aesthetic values that develop in the performing arts genre. Methods. This research article is based on qualitative research. The types of data and data sources and information were all obtained from the Hastasawanda aesthetic concept, dance aesthetic elements and Surakar

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P, Senthilnathan. "Aesthetic Principles in P. Vijay's Screen Songs." International Research Journal of Tamil 4, S-19 (2022): 101–6. http://dx.doi.org/10.34256/irjt224s1916.

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Many natural and artificial things are created by human. The basis of aesthetic analysis is to study the method of expressing the aesthetic feelings found in God's creations, such as love, character of a person, and form. Aesthetics identifies and interprets this beauty as it is. There are views and ideologies about what beauty is rather than what it is. Generally, aesthetics is a concept that is built on arts. Aesthetics is the source of power for various arts such as in paintings, music and songs. Therefore, this methodology is considered as an art-literary theory. Writers of aesthetic theor

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Holdhus, Kari, and Torill Vist. "Does this Work [of Art] Invite Me into [Intersubjective] Dialogue? - Discussing Relational Aesthetics in Music Education." European Journal of Philosophy in Arts Education - EJPAE 03, no. 01 (2018): 182–221. https://doi.org/10.5281/zenodo.3383768.

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Some artistic and educational practices in music have yet to be defined within the dichotomy of referential and autonomy aesthetics. However, there has been an ongoing shift towards more interactive, social and relationally founded aesthetic practices, which often originate in other art media but influence music as well. In this article, we investigate relational aesthetics’ place and further potential in music education, taking Nicolas Bourriaud’s term ‘relational aesthetics’ as a point of departure. Originally a theory concerning a specific postmodern genre within the

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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.

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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of &ldquo;Black Arts&rdquo; movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impac

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Grbovic, Sasa. "Relations between the arts: The stratification theory." Theoria, Beograd 67, no. 1 (2024): 171–81. http://dx.doi.org/10.2298/theo2401171g.

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This article is dedicated to Hartmann?s stratification theory, which he develops within his aesthetics. The first part of the article discusses Hartmann?s idea about the two strata structure of the aesthetic object, consisting of its foreground and background. In the second part of the paper, an initial comparative analysis of the aesthetic objects of fine arts, poetry, music and architecture is carried out based on his thesis about the relationship of appearance of the background in the sensory foreground. The last part of the paper is dedicated to the reconstruction and interpretation of Har

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Jacobsen, Thomas. "Bridging the Arts and Sciences: A Framework for the Psychology of Aesthetics." Leonardo 39, no. 2 (2006): 155–62. http://dx.doi.org/10.1162/leon.2006.39.2.155.

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The investigation of aesthetic processing has constituted a longstanding tradition in experimental psychology, of which experimental aesthetics is the second-oldest branch. The status of this psychology of aesthetics, the science of aesthetic processing, is briefly reviewed here. Building on this heritage and drawing on a host of related scientific disciplines, a framework for a strongly interdisciplinary psychology of aesthetics is proposed. It is argued that the topic can be fruitfully approached from at least seven different perspectives, each with multiple levels of analysis: diachronia, i

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Xiaobo, Lu, and Liu Yuelin. "Embodiment, Interaction and Experience: Aesthetic Trends in Interactive Media Arts." Leonardo 47, no. 2 (2014): 166–69. http://dx.doi.org/10.1162/leon_a_00734.

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The relationship between technology and art has always been an important issue in the field of art. With the application of information technology in interactive media arts, the traditional aesthetic theories can no longer fully interpret an emerging morphology of artistic styles. The unification of interaction, experience and aesthetics based on the “indwelling” idea of tacit knowledge theory and embodiment theory of phenomenology may be seen as a total framework for analyzing interaction aesthetics from three dimensions: information, space and time, which embodies three important features: f

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David-West. "North Korean Aesthetic Theory: Aesthetics, Beauty, and “Man”." Journal of Aesthetic Education 47, no. 1 (2013): 104. http://dx.doi.org/10.5406/jaesteduc.47.1.0104.

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Zheng, Wei Na. "The Aesthetic Appreciation of the Epochal and National Character of Competitive Martial Art Routines." Advanced Materials Research 217-218 (March 2011): 1886–90. http://dx.doi.org/10.4028/www.scientific.net/amr.217-218.1886.

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With the temporal aesthetics as the mainstream background, the aesthetics appreciation of competitive martial art routines reflects obviously the characteristic of aesthetic globalization, which is just as same as the aesthetic characteristic of the programs mainly based on skills. While the competitive martial arts also inherited the essence of Chinese traditional aesthetics，that’s to say, pursuing artistic conception and the beauty of skills. After 2008, in order to promote the Olympic process of competitive martial art routine, we must enhance the aesthetic values of it in the whole world.

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Woods, Walter A., and Thomas C. Padgett. "Aesthetics Applied to Fashion Apparel." Empirical Studies of the Arts 5, no. 1 (1987): 15–30. http://dx.doi.org/10.2190/g0eu-c5ec-ggq5-2ly7.

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An apparently ambiguous status for aesthetics in fashion theory is noted and discussed and an applied aesthetics approach to supplement the current communications theory approach is proposed. Two classes of aesthetic properties—intrinsic formal and extrinsic symbolic content—are discussed in terms of stimulus properties. Certain stimulus properties are used in an experiment in which it is demonstrated that aesthetic properties can be identified and used in evaluating fashion apparel. The findings suggest that when aesthetic criteria are considered in fashion theory, classical fashion concepts

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Shiner, Roger A. "The Theory of The Theory of the Arts." Dialogue 25, no. 3 (1986): 533–46. http://dx.doi.org/10.1017/s001221730002093x.

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One stands in awe of this book, and of its display of erudition, acumen, wit, elegance, taste, and uninhibited failure to suffer fools gladly. Michael Tanner in lectures at Cambridge in 1961 remarked of the then recently published Aesthetics by Monroe Beardsley that in a sense one did not need any other book in aesthetics. Now, one will be sorely tempted to say exactly the same thing about TTTA. The claim would in either case be a mistake. To understand, however, the reason why in either case the claim would be a mistake, and to understand why it would in the case of Sparshott's book be a mist

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Harutyunyan, Angela. "Hegel's aesthetics and Soviet Marxism: Mikhail Lifshits's Communist ideal." SAJ - Serbian Architectural Journal 11, no. 2 (2019): 273–84. http://dx.doi.org/10.5937/saj1902273h.

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This paper discusses the materialist reading of Hegel's Aesthetics by Soviet philosopher Mikhail Lifshits in his writings in the 1930s. Engaged in the development of Soviet Marxian aesthetic theory, Lifshits adapted the Hegelian conception of art as a form of truth and actualisation of the Idea in a sensible form as ideal. However, he rejected Hegel's tragic fatalism regarding the historical fate of arts and their sublation in a new supra-sensual stage of the Spirit's development. Lifshits sought the only answer to the historical destiny of arts in the Marxian dialectic of history. Here, he id

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Woods, Peter J. "Aesthetics in the Eugenics Movement: A Critical Examination." Journal of Aesthetic Education 56, no. 2 (2022): 56–77. http://dx.doi.org/10.5406/15437809.56.2.04.

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Abstract Although multiple scholars have pushed music education to embrace the aesthetic as a curricular and pedagogical touchstone, research surrounding this aesthetic turn has largely framed aesthetics as a sensory experience rather than a social technology (one that can both liberate and oppress). In response, I address the following question: how do uncritical aesthetic philosophies and the experiences they engender act as a means of oppression within music education? By way of example, I approach this question through a text analysis of writings on aesthetics from The Eugenics Review, a l

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Biehl-Missal, Brigitte, and Michael Saren. "Atmospheres of Seduction." Journal of Macromarketing 32, no. 2 (2012): 168–80. http://dx.doi.org/10.1177/0276146711433650.

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This article introduces the concept of the “atmosphere” from aesthetic theory to contribute to critical research on the aesthetic, embodied experience in retailing, and consumption spaces, which has received little attention in the marketing literature. The article draws on the “new aesthetics” of Gernot Böhme which is not a theory of art or the works of art but considers the full range of “aesthetic work” including marketing practices. Contributing to the art-versus-commerce debate, this framework suggests differentiating between atmospheres in the arts and in marketing, and it suggests the c

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Gu, Jakwang. "A Comparative Study on Agamben’s Art and Rancière’s Aesthetics." Criticism and Theory Society of Korea 29, no. 3 (2024): 5–31. http://dx.doi.org/10.19116/theory.2024.29.3.5.

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A comparative study on Agamben’s art and Rancière’s aesthetics will bring an understanding that Agamben proposes a new community through art and Rancière presents an idea of a new community through aesthetics. Agamben starts with Plato’s presentation of paradigm based on the relation between aisthesis and an-aisthesis which has been forgotten since Aristotle. Agamben claims to recuperate Plato’s paradigm with the relation between aisthesis and an-aisthesis. Rancière, critical of Plato, begins with a critique of Plato’s community-centered distribution of the sensible. Rancière raises a critique

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Burt, Ramsay. "Dance Theory, Sociology, and Aesthetics." Dance Research Journal 32, no. 1 (2000): 125. http://dx.doi.org/10.2307/1478286.

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Süner, Ahmet. "A critical evaluation of Heidegger’s criticism of aesthetics in ‘The Origin of the Work of Art’." Journal of European Studies 47, no. 1 (2016): 21–33. http://dx.doi.org/10.1177/0047244116676686.

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This paper examines and critiques Heidegger’s repudiation of aesthetics in his essay ‘The Origin of the Work of Art’ and claims that his alternative approach to artworks in the essay must be understood as a theory of aesthetics and, more particularly, of aesthetic use, which delineates the inseparability of senses and sensations. The paper analyses Heidegger’s explicit remarks on aesthetics in the epilogue, discusses his criticism of the aesthetic thing-interpretation at the beginning of the essay and concludes with some critical observations on Heidegger’s own aesthetics. While critical of He

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Jacobus, Mary. "Magical Arts: The Poetics of Play." Psychoanalysis and History 7, no. 1 (2005): 21–50. http://dx.doi.org/10.3366/pah.2005.7.1.21.

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The paper argues that links between play and magic in British Object Relations point to the persistence of aesthetic concerns within psychoanalysis. Magical thinking is present in British Object Relations psychoanalysis from its beginnings in Klein's play technique and early aesthetic writings, surfacing elsewhere in Susan Isaacs's educational experiments and her theories of metaphor. Marion Milner's clinical account of the overlapping areas of illusion and symbolformation in a boy's war-games link the primitive rituals of Frazer's The Golden Bough with her patient's creativity. In Winnicott's

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Lufiani, Alvi, Setiawan Sabana, and Achmad Haldani. "Aesthetics and functions of craft art in public art space." Harmonia: Journal of Arts Research and Education 17, no. 1 (2017): 41. http://dx.doi.org/10.15294/harmonia.v17i1.9399.

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<p>The problem in this research is about how to assess the aesthetics and functions of craft art in Indonesian city public space compare to other cities in other countries. It is also about how these craft arts can be used to improve the aesthetics and strength a city’s identity. Approaches used in this research are aesthetic theory and sociology of art. Aesthetic theory is used to assess the craft art textually or intra aesthetics. Sociology of art theory is used to see how craft art role can fulfil its function as a medium for craftsperson to participate in creating an art work that is

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Heyd, T. "Natural Beauty: A Theory of Aesthetics Beyond the Arts." British Journal of Aesthetics 48, no. 4 (2008): 465–67. http://dx.doi.org/10.1093/aesthj/ayn039.

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Rollins, Mark, and Michael Stephan. "A Transformational Theory of Aesthetics." Journal of Aesthetics and Art Criticism 50, no. 4 (1992): 349. http://dx.doi.org/10.2307/431420.

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Ilic, Vlatko. "Theater arts as the subject of comparative aesthetics." Theoria, Beograd 67, no. 1 (2024): 151–60. http://dx.doi.org/10.2298/theo2401151i.

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In this paper we will show how the new theoretical thought about theater, since the beginning of the last century and the establishment of theatrology as the academic discipline and field of research, is being based on the comparative aesthetic perspective - on the distinction between different arts on the one hand and the identification of the transcultural foundation of theater arts on the other. Following the analyses of examples of contemporary theatre and the insights that emerge from them, we will demonstrate how the questions that rise out of theatrical practice and theory resonate with

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Meng, Fanjun, and Yushui Liang. "A New Interpretation of the Essence of Aesthetic Experience: From the Perspective of Cognitive Neuroaesthetics and Aesthetic Anthropology." Journal of Aesthetic Education 56, no. 4 (2022): 97–120. http://dx.doi.org/10.5406/15437809.56.4.07.

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Abstract In the transformation from classical to modern aesthetics, the proposition and exploration of aesthetic experience constitutes one of the major dimensions of various aesthetic problems. Pragmatic aesthetics, phenomenological aesthetics, hermeneutic aesthetics, analytical aesthetics, and new pragmatic aesthetics have comprehensively analyzed and discussed aesthetic experience. Through the construction and deconstruction of aesthetic experience in aesthetic history, the study of the key concept seems to have come to a certain predicament. This is mainly reflected in the fact that the su

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Grubačić, Marko S. "A BRIEF LOOK AT THE PROBLEM OF DEFINING JAPANESE AESTHETIC TERMS, THEIR AUTHENTICITY AND INTERPRETATIONS IN THE TWENTIETH CENTURY (Kratak osvrt na problem definisanja japanskih esteskih pojmova, njihovu autentičnost i interpretacije u XX veku)." Folia linguistica et litteraria X, no. 28 (2019): 113–26. http://dx.doi.org/10.31902/fll.28.2019.7.

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This paper deals with the key concepts of Japanese aesthetics, whose peculiarities arose at the intersection of cultural-historical, poetic and literarytheoretical impulses at a time when clear distinctions between literary, visual and applied arts in Japan were absent. The analysis of the assumptions of their emergence - which frequently alternate between political and aesthetic propositions - is conducted by consulting and interpreting relevant sources in order to question or confirm the established interpretations. Keywords: Japanese Aesthetics, fūryū, iki, mono-no-aware, yūgen, nihonjinron

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Nachtsheim, Stephan. "Zum zeitgenössischen theoretischen Kontext von Hermann Cohens Ästhetik." Zeitschrift für Religions- und Geistesgeschichte 62, no. 2 (2010): 142–56. http://dx.doi.org/10.1163/157007310791185546.

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AbstractThe tendency to isolate aesthetics in the study of fine arts and in basic fine arts research as well as through the aesthetics of empathy goes back to post-Kantian philosophy. This way of thinking, as far as it was of particular interest to Cohen, dominated aesthetics and art theory during the time of the publication his Ästhetik des reinen Gefühls (1912). In the Marburg School itself, the systematic basis of aesthetics began to shift in 1912.

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Wilson, Ross. "Dialectical Aesthetics and the Kantian Rettung: On Adorno's Aesthetic Theory." New German Critique 35, no. 2 (2008): 55–69. http://dx.doi.org/10.1215/0094033x-2008-003.

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Woods, Walter A. "Parameters of Aesthetic Objects: Applied Aesthetics." Empirical Studies of the Arts 9, no. 2 (1991): 105–14. http://dx.doi.org/10.2190/7d3x-03g1-aguv-w417.

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Berleant, Arnold. "Environmental Sensibility." Studia Phaenomenologica XIV (May 5, 2014): 17–23. https://doi.org/10.17613/M6FN10R7B.

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Aesthetics is fundamentally a theory of sensible experience. Its scope has expanded greatly from centering on the arts and scenic nature to the full range of appreciative experience. Expanding the range of aesthetics raises challenging ques-tions about the experience of appreciation. Traditional accounts are inadequate to identify and illuminate the perceptual experiences that these new applications evoke. Considering the range of environmental and everyday occasions aesthetical-ly changes aesthetics into a descriptive and not necessarily celebratory study of sensible experience, for it must n

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Fischer-Lescano, Andreas. "Sociological Aesthetics of Law." Law, Culture and the Humanities 16, no. 2 (2016): 268–93. http://dx.doi.org/10.1177/1743872116656777.

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Aesthetic theory has the potential to develop a sensorium for the rational and arational forces of law. But the aesthetic knowledge of law is underdeveloped. That is why this article proposes a self-reflective sociological aesthetics of law that is capable of acknowledging human and social forces. The article unfolds its argument in three steps: first, it outlines the main approaches in the field of “law and aesthetics”; second, it connects these approaches in legal aesthetics with sociological and philosophical discussions on aesthetics; and, third, it suggests what distinctive contributions

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Radunović, Dušan. "On "Secondary Aesthetics, Without Isolation": Philosophical Origins of Mikhail Bakhtin's Theory of Form." Slavic and East European Journal 59, no. 1 (2015): 1–22. http://dx.doi.org/10.30851/59.1.001.

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This paper discusses the philosophical origins as well as the social context of Mikhail Bakhtin’s theory of aesthetic form. Bakhtin’s critique of the Russian Formalist conception of form, which reaches its most elaborate form in his 1924 article “The Methodological Questions of Literary Aesthetics” (“K voprosam metodologii estetiki slovesnogo tvorchestva”), is methodologically rooted in various strands of neo-Kantian philosophy and aesthetics, most notably, in the works of Hermann Cohen and Broder Christiansen. It was from the neo-Kantian philosophical repertoire that Bakhtin derived his found

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Riley, Howard. "The Domains of Aesthetics and Perception Theories: A Review Relevant to Practice-based Doctoral Theses in the Visual Arts." Journal of Aesthetic Education 58, no. 2 (2024): 78–126. http://dx.doi.org/10.5406/15437809.58.2.06.

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Abstract Every doctoral thesis requires contextualization within its specific discipline's theoretical bases. For a visual arts practice-based thesis, the relevant bases include those of aesthetics and visual perception. This article reviews a Western history of the domain of visual aesthetic theory, addressing both the analytical philosophical efforts to define art and the continental approaches, which construe art as social construction. It then reviews a third, normative stance that foregrounds cognitive value before definition or sociological context—an aesthetic cognitivist position, art

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

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

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Klütsch, Christoph. "Computer Graphic—Aesthetic Experiments between Two Cultures." Leonardo 40, no. 5 (2007): 421–25. http://dx.doi.org/10.1162/leon.2007.40.5.421.

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The author presents a summary of his research on the Stuttgart School and information aesthetics as developed by Max Bense in the 1950s and 1960s. Three artists, Frieder Nake, Georg Nees and Manfred Mohr, adopted the use of information aesthetics in computer graphics. The author investigates the relation between artistic practice and aesthetic theory.

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Duran, Jane. "Aesthetics, Epistemics, and Feminist Theory." Journal of Aesthetic Education 37, no. 1 (2003): 32. http://dx.doi.org/10.2307/3527419.

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Duran, Jane. "Aesthetics, Epistemics, and Feminist Theory." Journal of Aesthetic Education 37, no. 1 (2003): 32–39. http://dx.doi.org/10.1353/jae.2003.0002.

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Woodruff, David M. "A Virtue Theory of Aesthetics." Journal of Aesthetic Education 35, no. 3 (2001): 23. http://dx.doi.org/10.2307/3333607.

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Huang, Weiwei, Qiong Luo, and Lingling Chen. "A Brief Analysis of the Role of Architectural Aesthetics in Chinese Architectural Education from the Perspective of Mental Health." Occupation and Professional Education 1, no. 2 (2024): 77–84. http://dx.doi.org/10.62381/o242214.

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With the progress of the times, Chinese education must enable students to understand that architecture is not only a tool for life, but also an artistic creation. Architectural aesthetics also involves historical, cultural, and social factors, as well as psychological health. To cultivate architects with good artistic cultivation, it is necessary to increase education in art, aesthetics, psychology, and humanities such as traditional architectural theory, Chinese traditional philosophy, Chinese and Western architectural aesthetics, aesthetic principles, Chinese and foreign art history, mental

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Levina, Jūratė. "Greimas‘s Three Aesthetics." Colloquia 42 (June 1, 2019): 113–34. http://dx.doi.org/10.51554/col.2019.28657.

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The paper examines Algirdas Julien Greimas’s criticism on literature and arts and demonstrates that it is guided by three relatively independent theoretical perspectives. Greimas’s vision of the development of the Lithuanian novel implies a sociocultural literary theory, which expands on the premise that in its narrative forms, literature registers society’s sociocultural structure and simultaneously offers to its readers ways of self-perception. Hence the novel, according to Greimas, must capture the tensions of an individual’s self-positioning in his sociocultural milieu. The history of the

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Funch, Bjarne Sode. "Emotions in the Psychology of Aesthetics." Arts 11, no. 4 (2022): 76. http://dx.doi.org/10.3390/arts11040076.

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Ever since Alexander Gottlieb Baumgarten (1714–1762) introduced the concept of aesthetics, the prevailing idea has been that the fine arts provide an alternative source of knowledge to the traditional sciences. Art, however, has always been closely associated with emotions. Taking Baumgarten’s treatise on poetry as a point of departure, I argue that Baumgarten laid the ground for a conception of art that emphasizes emotion rather than cognition with a particular appeal to psychology to provide principles of aesthetic appreciation of art. This appeal is met here with a phenomenological discussi

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Jackson, Shannon. "Just-in-Time: Performance and the Aesthetics of Precarity." TDR/The Drama Review 56, no. 4 (2012): 10–31. http://dx.doi.org/10.1162/dram_a_00211.

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Integrating post-Operaismo social theory with recent turns in performance studies shows how such theory complicates and is complicated by cross-arts questions around virtuosity and affective labor. Such complications emerge, not only in the contemporary art sphere, but also in the history and theory developed by performance studies as a discipline.

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Tomer, Rishi Raj. "Visual Arts, Psychology and Creativity Aesthetical Experience and Its Psychological Impact on Human Mind." Journal Global Values XVI, no. 1 (2025): 188–93. https://doi.org/10.31995/jgv.2025.v16i01.021.

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Aesthetics is the most important part of human life one can understand the feeling or value of truth by aesthetics sense. Built technique, color scheme, and the goodness of any object that makes that thing valuable or beautifully attractive is called the Aesthetics of that object. One can understand this sense in two ways by Body Sensation or by Visual both are must to feel something firstly explain about Bodily sensation which can be the smell of good food, flowers, or someone’s touch which fills our heart with joy or happiness for example mother touch the head of her child is giving that chi

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Foster, Lisa, and Paul Giles. "American Catholic Arts and Fictions: Culture, Ideology, Aesthetics." American Literature 65, no. 3 (1993): 603. http://dx.doi.org/10.2307/2927417.

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Fisher, J. T. "American Catholic Arts and Fictions: Culture, Ideology, Aesthetics." Modern Language Quarterly 55, no. 1 (1994): 111–14. http://dx.doi.org/10.1215/00267929-55-1-111.

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Diller, Christopher. ""Fiction in Color": Domesticity, Aestheticism, and the Visual Arts in the Criticism and Fiction of William Dean Howells." Nineteenth-Century Literature 55, no. 3 (2000): 369–98. http://dx.doi.org/10.2307/2903128.

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Given that William Dean Howells was the leading spokesperson for literary realism in the late nineteenth century, critics have traditionally cited him for his failure to define a formal aesthetic theory, or, more recently, they have located such a theory in its very absence. Neither view acknowledges how Howells appropriated a central tenet of genteel society-domesticity-as ground for a pragmatic appraisal of fine art under the impress of capitalism. Especially in his fictional descriptions of painting and illustration, Howells delineates how disinterested rationales of fine art like aesthetic

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Romero-Ramírez, Miguel A., and Duncan Reyburn. "Towards an expansive object and a restrictive experience in Everyday Aesthetics: A Chestertonian metaxological approach." Kepes 18, no. 24 (2021): 197–231. http://dx.doi.org/10.17151/kepes.2021.18.24.8.

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This article proposes to resolve an internal ambiguity in the subdiscipline called Everyday Aesthetics (EA), systematized by the researcher Horacio Pérez-Henao, according to whom the extension of aesthetics to the everyday has been done, on the one hand, by means of a consideration of an expansive object and subject according to aesthesis itself, as mainly proposed by Katya Mandoki, and, on the other hand, by means of a restrictive object and subject according to the parameters of an authentic aesthetic experience, a theory headed by John Dewey. Methodology: To resolve this tension, a hermeneu

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Duncan, Elmer H., and Jack L. Nasar. "Environmental Aesthetics: Theory, Research, and Applications." Leonardo 25, no. 2 (1992): 223. http://dx.doi.org/10.2307/1575726.

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ROLLINS, MARK. "Stephan, Michael. A Transformational Theory of Aesthetics." Journal of Aesthetics and Art Criticism 50, no. 4 (1992): 349–50. http://dx.doi.org/10.1111/1540_6245.jaac50.4.0349.

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