Hybrid journal (It can contain Open Access articles) ISSN (Print) 0007-0904 - ISSN (Online) 1468-2842 Published by Oxford University Press[425 journals]
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Pages: 1 - 6 Abstract: AbstractThis paper argues for a distinction between pretending and imagining. Pretending has a public and observable aspect, which imagining does not. The paper then uses this distinction to argue that various forms of fiction, including literature and the theater, do not essentially involve pretence. PubDate: Thu, 23 Jan 2025 00:00:00 GMT DOI: 10.1093/aesthj/ayae030 Issue No:Vol. 65, No. 1 (2025)
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Pages: 7 - 18 Abstract: AbstractThis essay examines Jerrold Levinson’s hypothetical intentionalism with respect to the following two objections raised by actual intentionalists: (1) it is arbitrary to exclude certain kinds of evidence, such as the author’s pronouncements of intention, when hypothesizing about authorial intention; and (2) there exist counter-examples. I argue that these objections fail to establish that actual intentionalism is superior to hypothetical intentionalism and that hypothetical intentionalism is more plausible than actual intentionalism. I also suggest, however, that hypothetical intentionalism has difficulties when applied to truth in fiction and thus may not be a complete theory of literary work meaning broadly construed. PubDate: Thu, 23 Jan 2025 00:00:00 GMT DOI: 10.1093/aesthj/ayae035 Issue No:Vol. 65, No. 1 (2025)
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Pages: 19 - 32 Abstract: AbstractJerrold Levinson has elegantly defended a proposal for the ethical evaluation of popular songs, which looks at the ‘personal qualities’ a song exhibits. I claim that the personal-qualities theory of artistic expression importantly contributes to explaining how songs get to have their meanings, yet that it does not very profitably extend to their ethical evaluation. I propose that the notion of a work’s ethical perspective best generates a central way of ethically evaluating popular songs, by properly linking the ethical evaluation of songs to their meanings. Reference to songs’ ethical perspectives proves able to (a) enjoy broad scope; (b) produce charitable ethical assessments; (c) generate fine-grained and comparative attributions of ethical value; and (d) deal, better than the personal-qualities view, with songs that include multiple characters, manifest despicable personae without explicitly condemning them, or exhibit a persona that eschews ethical evaluation. Investigating the theoretical centrality of this type of ethical judgment also provides us with an opportunity to better understand what construing the meaning of songs—and more generally works of art—involves: when relevant, the proper construal of works’ ethical perspectives’ objects, and of the perspectives themselves as often presenting us with outlooks just for our consideration, not approval. I close by suggesting a possible relationship between our song preferences and our sense of self, via David Hume’s notion of pride: the songs we favour help us with self-perception and -assessment, and perhaps with self-construction. PubDate: Thu, 23 Jan 2025 00:00:00 GMT DOI: 10.1093/aesthj/ayae042 Issue No:Vol. 65, No. 1 (2025)
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Pages: 33 - 44 Abstract: AbstractOver the past few decades, various philosophers of music have appealed to the notion of recognizability in their theories of the performance of works of Western classical music. In this paper, I attempt to clarify that notion and examine whether it can actually do the jobs it is called upon to execute. I begin with a discussion of Jerrold Levinson’s appeal to (something like) work-recognizability as a criterion of successful work-performance and its influential uptake by Stephen Davies. I then attempt to clarify the notion of work-recognizability. I argue that the concept cannot do the task it is asked to in theories of work-performance, and that we should instead appeal to a robust notion of the intention to perform a work. PubDate: Wed, 22 Jan 2025 00:00:00 GMT DOI: 10.1093/aesthj/ayae013 Issue No:Vol. 65, No. 1 (2025)
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Pages: 45 - 60 Abstract: AbstractGiven Aristotle’s response to Plato’s views by positing a cathartic function for tragedy, it is understandable that an author opposing him through the development of a non-Aristotelian theatrical theory would spontaneously draw closer to Platonic thought. However, Brecht’s stance goes beyond this spontaneous proximity in this debate. This article challenges those critics who have overlooked the direct relationship between Plato and Brecht, and it offers a reasoned decision on Walter Benjamin’s verdict that epic theatre is a form of Platonic drama. Moreover, it argues that Brecht’s endeavour aimed to create a theatre that remained impervious to Plato’s critiques. The article analyzes Brecht’s achievements in epic theatre as an expression of disenchantment, demonstrating how, through the techniques he developed, he radically dismantled the magical effect that was essential to Aristotelian theatre. PubDate: Thu, 05 Sep 2024 00:00:00 GMT DOI: 10.1093/aesthj/ayae037 Issue No:Vol. 65, No. 1 (2024)
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Pages: 61 - 80 Abstract: AbstractAccording to the most important objection to the existence of moral beauty, true judgements of moral beauty are not possible as moral judgements require being motivated to act in line with the moral judgement made, and judgements of beauty require not being motivated to act in any way. Here, I clarify the argument underlying the objection and demonstrate that it does not show that moral beauty does not exist. I present two responses: namely, that the beauty of moral beauty does not lie in the moral goodness per se (the ‘adjacent properties’ response), and that only a dispositional motivation to act is required for the moral judgements that are typically made as part of judgements of moral beauty, whereas aesthetic judgements only rule out state motivations to act (the ‘equivocation of motivation required’ response). In addressing the objection, I show how moral beauty is consistent with disinterestedness, and so should be accepted more widely; also clarifying where the beauty in moral beauty resides, and how the moral–aesthetic distinction should be drawn. PubDate: Tue, 12 Nov 2024 00:00:00 GMT DOI: 10.1093/aesthj/ayae018 Issue No:Vol. 65, No. 1 (2024)
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Pages: 81 - 96 Abstract: AbstractFashion is immediately associated with looks. Its popularity and its most consumerist sides thrive in our current culture of image, further highlighting the connection between fashion and an aesthetic that is quintessentially visual. While it is impossible to deny such a connection, this paper explores the relationship between fashion and touch and fashion and “feel”, two terms that, albeit related, deserve independent consideration. I will begin by emphasizing the importance of seeing fashion in relation to a performative understanding of identity, which is experiential, embodied, situated, and, quite simply, “in movement”. Such an understanding, crucial for a better grasp of sartorial design, is inevitably linked to a tactile understanding of fashion: from the selection of fabrics to the silhouettes and cuts that allow a sketch to move to a garment in three dimensions. But, crucially, a performative understanding of identity is also the starting point for a reflection on touch and fashion in our everyday tasks and judgments, judgments that often move from the aesthetic sphere to other value areas and the broader socio-political context. To further cement my arguments, I will conclude the paper with two case studies: sportswear and maternity wear. PubDate: Fri, 20 Sep 2024 00:00:00 GMT DOI: 10.1093/aesthj/ayae019 Issue No:Vol. 65, No. 1 (2024)
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Pages: 97 - 112 Abstract: AbstractBodily responses to dance have sparked recent controversy in philosophy. Some people claim that they have no place in dance appreciation. Some use evidence from cognitive science to support the view that bodily responses have an important place in dance appreciation. However, this paper focuses not on whether motor responses to dance are part of dance appreciation but on their role in dance appreciation. It argues that many aesthetic qualities important to dance appreciation, such as gracefulness, are motor-aesthetic qualities, meaning that they require bodily response to appreciate them fully. It thus doubles not just as an analysis of motor response and its place in dance appreciation, but also as an analysis of gracefulness, a central aesthetic property in dance. PubDate: Thu, 05 Sep 2024 00:00:00 GMT DOI: 10.1093/aesthj/ayae020 Issue No:Vol. 65, No. 1 (2024)
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Pages: 113 - 130 Abstract: The aesthetic tradition has identified as paradigmatically sublime such objects as imposing mountains and intense storms, as well as monumental art. But the tradition also acknowledges less paradigmatic cases, including sometimes mathematical structures or abstract concepts. In this paper, we argue that there is also a case for considering phenomenal consciousness—the experiential quality of subjective awareness—as a sublime phenomenon. One appreciates this, we argue, when one is struck by (fitting) awe upon contemplating (a) the perplexing existence of something like phenomenal consciousness in an otherwise completely material universe and (b) the role of consciousness in injecting meaning and value in an otherwise brutally factual reality. PubDate: Mon, 07 Oct 2024 00:00:00 GMT DOI: 10.1093/aesthj/ayae005 Issue No:Vol. 65, No. 1 (2024)
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Pages: 131 - 134 Abstract: Aesthetics of Care: Practice in Everyday LifeSaitoYurikoLondon. Bloomsbury publishing, 2022. pp.232. £17.99 (pbk) PubDate: Fri, 23 Jun 2023 00:00:00 GMT DOI: 10.1093/aesthj/ayad006 Issue No:Vol. 65, No. 1 (2023)
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Pages: 134 - 137 Abstract: Aesthetic Life and Why it MattersLopesDominic McIver, NanayBence, and RiggleNickOxford: oxford university press, 2022. pp. 128. £41.99 (hbk). PubDate: Fri, 23 Jun 2023 00:00:00 GMT DOI: 10.1093/aesthj/ayad013 Issue No:Vol. 65, No. 1 (2023)
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Pages: 137 - 140 Abstract: Modeling the Meanings of PicturesKulvickiJohnOxford University Press. 2020. pp. 176. £61.00 (hbk) PubDate: Mon, 14 Aug 2023 00:00:00 GMT DOI: 10.1093/aesthj/ayac064 Issue No:Vol. 65, No. 1 (2023)
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Pages: 144 - 146 Abstract: Authority and Freedom: A Defense of ArtPerlJedAlfred A. Knopf.2022. pp. 161. £20.00 (hbk) PubDate: Wed, 02 Aug 2023 00:00:00 GMT DOI: 10.1093/aesthj/ayac070 Issue No:Vol. 65, No. 1 (2023)
Hybrid journal (It can contain Open Access articles)
[425 journals]
