Bibliography for Introduction to Aesthetics and Philosophy of Art

[1]
G. Graham, Philosophy of the arts: an introduction to aesthetics, Third edition. London: Routledge, 2005. Available: https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=254270

[2]
J. Levinson, The Oxford handbook of aesthetics. Oxford: Oxford University Press, 2005. Available: http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://dx.doi.org/10.1093/oxfordhb/9780199279456.001.0001

[3]
Graham and Gordon, ‘Art and Pleasure’, in Philosophy of the arts: an introduction to aesthetics, 2nd ed.London, New York: Routledge, 2000.

[4]
Levinson, Jerrold, ‘Pleasure and the Value of Works of Art’, in The pleasures of aesthetics: philosophical essays, Ithaca, N.Y.: Cornell University Press, 1996.

[5]
Graham and Gordon, ‘Art and Emotion’, in Philosophy of the arts: an introduction to aesthetics, 2nd ed.London, New York: Routledge, 2000.

[6]
Neill and Alex, ‘Art and Emotion’, in The Oxford handbook of aesthetics, Oxford: Oxford University Press, 2003.

[7]
John and Eileen, ‘Art and Knowledge’, in The Routledge companion to aesthetics, 2nd ed.New York, NY: Routledge, 2005.

[8]
A. Goldman, ‘Beardsley’s Legacy: The Theory of Aesthetic Value’, Journal of Aesthetics and Art Criticism, vol. 63, no. 2, pp. 185–189, Mar. 2005, doi: 10.1111/j.0021-8529.2005.00196.x

[9]
Friday and Jonathan, ‘Art and Aesthetic Experience’, in Aesthetics and photography, Aldershot: Ashgate, 2002.

[10]
A. Haapala, J. Levinson, and V. Rantala, ‘The Philosophical Disenfranchisement of the Commonplace’, in The end of art and beyond: essays after Danto, Atlantic Highlands, N.J.: Humanities Press, 1997.

[11]
A. Haapala, J. Levinson, and V. Rantala, ‘The End of art’, in The end of art and beyond: essays after Danto, Atlantic Highlands, N.J.: Humanities Press, 1997.

[12]
Graham and Gordon, ‘The “auteur” in film’, in Philosophy of the arts: an introduction to aesthetics, 2nd ed.London, New York: Routledge, 2000.

[13]
Carroll, Noël, ‘Film as Art’, in The philosophy of motion pictures, Malden, Mass: Blackwell Pub. Ltd, 2008.

[14]
Carroll and Noel, ‘Pictorial Representation’, in Philosophy of art: a contemporary introduction, London: Routledge, 1999. Available: http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://www.kentuk.eblib.com/patron/FullRecord.aspx?p=168645

[15]
Wollheim, Richard, ‘What the Spectator Sees’, in Painting as an art, London: Thames and Hudson, 1987.

[16]
Graham and Gordon, ‘Architecture as an Art’, in Philosophy of the arts: an introduction to aesthetics, 2nd ed.London, New York: Routledge, 2000.

[17]
J. Levinson, ‘Intention and Interpretation in Literature’, in Aesthetics and the philosophy of art - the analytic tradition: an anthology, Oxford: Blackwell Pub, 2004.

[18]
Carroll, Noël, Philosophy of art: a contemporary introduction, vol. Routledge contemporary introductions to philosophy. London: Routledge, 1999. Available: https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=168645

[19]
Davies, Stephen, The philosophy of art, vol. Foundations of the philosophy of the arts. Malden, Mass: Blackwell Pub, 2006.

[20]
Gaut, Berys Nigel and Lopes, Dominic, The Routledge companion to aesthetics, 2nd ed. New York, NY: Routledge, 2005.

[21]
Graham, Gordon, Philosophy of the arts: an introduction to aesthetics, 2nd ed. London, New York: Routledge, 2000.

[22]
Kivy, Peter, The Blackwell guide to aesthetics, vol. Blackwell philosophy guides. Oxford: Blackwell Pub, 2004. Available: https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=350962

[23]
Levinson, Jerrold, The Oxford handbook of aesthetics. Oxford: Oxford University Press, 2003.

[24]
Neill, Alex and Ridley, Aaron, Arguing about art: contemporary philosophical debates, 3rd ed. London: Routledge, 2008.

[25]
Warburton, Nigel, The art question. London: Routledge, 2003.

[26]
H. Maes, ‘Intention, Interpretation, and Contemporary Visual Art’, The British Journal of Aesthetics, vol. 50, no. 2, pp. 121–138, Feb. 2010, doi: 10.1093/aesthj/ayp051

[27]
Stecker and Robert, ‘Interpretation’, in The Routledge companion to aesthetics, 2nd ed.New York, NY: Routledge, 2005.

[28]
D. Hume, ‘Of The Standard of Taste’, in Art and enlightenment: Scottish aesthetics in the eighteenth century, Exeter: Imprint Academic, 2004.

[29]
Levinson, Jerrold, ‘Hume’s Standard of Taste: the Real Problem’, in Contemplating art: essays in aesthetics, New York: Clarendon Press, 2006. Available: http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://dx.doi.org/10.1093/acprof:oso/9780199206179.001.0001

[30]
M. Kieran, Contemporary debates in aesthetics and the philosophy of art, vol. Contemporary debates in philosophy. Malden, MA: Blackwell Pub, 2006. Available: http://www.loc.gov/catdir/toc/ecip0510/2005009259.html

[31]
L. Hanson, ‘The Reality of (Non-Aesthetic) Artistic Value’, The Philosophical Quarterly, vol. 63, no. 252, pp. 492–508, July 2013, doi: 10.1111/1467-9213.12026

[32]
Nelson Goodman, ‘How Buildings Mean’, Critical Inquiry, vol. 11, no. 4, pp. 642–653, 1985, Available: http://www.jstor.org/stable/1343421?seq=1#page_scan_tab_contents

[33]
Kendall L. Walton, ‘How Marvelous! Toward a Theory of Aesthetic Value’, The Journal of Aesthetics and Art Criticism, vol. 51, no. 3, pp. 499–510, 1993, Available: http://www.jstor.org/stable/431521?seq=1#page_scan_tab_contents

[34]
B. Gaut, ‘The Cluster Account of Art Defended’, The British Journal of Aesthetics, vol. 45, no. 3, pp. 273–288, July 2005, doi: 10.1093/aesthj/ayi032

[35]
J. Hyman, The objective eye: color, form, and reality in the theory of art. Chicago: University of Chicago Press, 2006. Available: http://www.loc.gov/catdir/toc/ecip061/2005029205.html

[36]
M. Newall, What is a picture?: depiction, realism, abstraction. Basingstoke: Palgrave Macmillan, 2011. Available: http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9780230297531

[37]
Michael Newall, ‘A Restriction for Pictures and Some Consequences for a Theory of Depiction’, The Journal of Aesthetics and Art Criticism, vol. 61, no. 4, pp. 381–394, 2003, Available: http://www.jstor.org/stable/1559072?seq=1#page_scan_tab_contents

[38]
S. Davies, ‘AESTHETIC JUDGEMENTS, ARTWORKS AND FUNCTIONAL BEAUTY’, The Philosophical Quarterly, vol. 56, no. 223, pp. 224–241, Apr. 2006, doi: 10.1111/j.1467-9213.2006.00439.x

[39]
Hans Maes, ‘The end of art: a Real Problem or not Really a Problem?’, Postgraduate Journal of Aesthetics, vol. 1, no. 2, 2004, Available: http://www.pjaesthetics.org/index.php/pjaesthetics/article/view/18

[40]
B. N. Gaut, D. Lopes, and Dawsonera, The Routledge companion to aesthetics, Second edition., vol. Routledge companions to philosophy. London: Routledge, 2005. Available: http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9780203390795

[41]
Hans Maes, ‘The End of Art Revisited: A Response to Kalle Puolakka’, Postgraduate Journal of Aesthetics, vol. 2, no. 3, 2005, Available: http://www.pjaesthetics.org/index.php/pjaesthetics/article/view/39

[42]
Phillips, Sandra S., Baker, Simon, San Francisco Museum of Modern Art, Tate Modern (Gallery), and Walker Art Center, Exposed: voyeurism, surveillance, and the camera since 1870. London: Tate Publishing, 2010.

[43]
Lopes, D., Philosophy of computer art. London: Routledge, 2010. Available: https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=446874

[44]
Tavinor, G., Art of videogames. Malden, MA: Wiley-Blackwell, 2009. Available: https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=470749

[45]
Kieran, Matthew and Lopes, Dominic, Knowing art: essays in aesthetics and epistemology, vol. Philosophical studies series. Dordrecht, The Netherlands: Springer, 2007.

[46]
Scruton, R., Green Philosophy: How to Think Seriously About the Planet. London: Atlantic Books, 2012.

[47]
Robinson, Jenefer, Deeper than reason: emotion and its role in literature, music, and art. New York: Oxford University Press, 2005. Available: http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://www.oxfordscholarship.com/oso/public/content/philosophy/0199263655/toc.html

[48]
Nussbaum, Martha Craven, Upheavals of thought: the intelligence of emotions. Cambridge: Cambridge University Press, 2001.

[49]
Maes, H. & Levinson, J. (eds.), Art and Pornography: Philosophical Essays. [Place of publication not identified]: Oxford University Press.

[50]
Lamarque, P., The Philosophy of Literature, vol. Foundations of the Philosophy of the Arts. Malden, Mass: Wiley-Blackwell (an imprint of John Wiley & Sons Ltd), 2009.

[51]
Walton, K., Marvelous images: on values and the arts. Oxford: Oxford University Press, 2008. Available: http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://www.kentuk.eblib.com/patron/FullRecord.aspx?p=415522

[52]
Davies, S., The Artful Species: Aesthetics, Art, and Evolution. [Place of publication not identified]: Oxford University Press.

[53]
Shimamura, A.P. & Stephen E. Palmer, S.E., Aesthetic Science : Connecting Minds, Brains, and Experience : Connecting Minds, Brains, and Experience. New York: Oxford University Press - Special, 2012. Available: http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9780199875740

[54]
D. M. Lopes, ‘THE MYTH OF (NON-AESTHETIC) ARTISTIC VALUE’, The Philosophical Quarterly, vol. 61, no. 244, pp. 518–536, July 2011, doi: 10.1111/j.1467-9213.2011.700.x

[55]
L. Hanson, ‘The Reality of (Non-Aesthetic) Artistic Value’, The Philosophical Quarterly, vol. 63, no. 252, pp. 492–508, July 2013, doi: 10.1111/1467-9213.12026

[56]
N. Carroll, Ed., Theories of art today. Madison, Wisconsin: Madison, 2000.

[57]
R. Wollheim and Bollingen Foundation Collection (Library of Congress), Painting as an art, vol. The A.W. Mellon lectures in the fine arts. Princeton, New Jersey: Princeton University Press, 1987.

[58]
A. C. Danto, ‘The end of art’, in The philosophical disenfranchisement of art, [New ed.].New York: Columbia University Press, 2005.

[59]
D. Hume, Of the standard of taste, and other essays, vol. The library of liberal arts. Indianapolis: Bobbs-Merrill, 1965.

[60]
J. Levinson, Contemplating art: essays in aesthetics. Oxford: Clarendon Press, 2006. Available: http://library.kent.ac.uk/cgi-bin/resources.cgi?url=http://dx.doi.org/10.1093/acprof:oso/9780199206179.001.0001

[61]
L. Tolstoy and A. Maude, What is art? Chicheley: Paul P. B. Minet, 1971.

[62]
L. Tolstoy, Chto takoe iskusstvo? = What is art? [Place of publication not identified]: Bradda Books, 1963.

[63]
N. Carroll, ‘Aesthetic Experience Revisited’, The British Journal of Aesthetics, vol. 42, no. 2, pp. 145–168, Apr. 2002, doi: 10.1093/bjaesthetics/42.2.145

[64]
P. Livingston, ‘Utile Et Dulce: A Response to Noel Carroll’, The British Journal of Aesthetics, vol. 46, no. 3, pp. 274–281, July 2006, doi: 10.1093/aesthj/ayl005

[65]
STECKER ROBERT, ‘Artistic Value Defended’, The Journal of Aesthetics and Art Criticism, vol. 70, no. 4, pp. 355–362, 2012, doi: 10.1111/j.1540-6245.2012.01527.x. Available: http://onlinelibrary.wiley.com/doi/10.1111/j.1540-6245.2012.01527.x/abstract?userIsAuthenticated=false&deniedAccessCustomisedMessage=

[66]
H. Maes, ‘Intention, Interpretation, and Contemporary Visual Art’, The British Journal of Aesthetics, vol. 50, no. 2, pp. 121–138, Apr. 2010, doi: 10.1093/aesthj/ayp051

[67]
Hans Maes, ‘The end of art: a Real Problem or not Really a Problem?’, Postgraduate Journal of Aesthetics, vol. 1, no. 2, 2004, Available: http://www.pjaesthetics.org/index.php/pjaesthetics/article/view/18

[68]
P. Destrée, Suffering art gladly: the paradox of negative emotion in art. Basingstoke: Palgrave Macmillan, 2013.

Bibliography for Introduction to Aesthetics and Philosophy of Art BETA