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O czym milczą tytuły (translation)Sztuka I Filozofia (Art and Philosophy) 37 118-127. 2010.translation of A. Berleant
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38Objects into Persons: The Way to Social AestheticsEspes 6 (2): 9-18. 2017.This essay traces the steps to social aesthetics. It begins by affirming the central place of sense experience for aesthetics and its refinement in the perceptual acuity of a developed sensibility. This leads to associating aesthetic appreciation with such perceptual experience. Rejecting the identification of disinterestedness with such appreciation, the present paper proposes the full participatory involvement in the experience of appreciation as expressed by the concept of aesthetic engagemen…Read more
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3Prilastitev čutnosti in subverzija lepoteFilozofski Vestnik 36 (1). 2015.Zaradi svoje vsenavzočnosti v izkustvu ima estetska čutnost mnoge manifestacije, tako očitne kot prikrite. Članek preučuje nekatere večinoma skrite načine, v katerih sta okus in estetska sodba, ki se kažeta v čutnem izkustvu, prefinjeno prisvojena in izrabljena. Te postopke opisujem kot prilastitev estetske čutnosti in imajo škodljive posledice za zdravje, družbo in okolje. Omenjene prakse so oblika estetske negacije, ki izkrivlja čutno izkustvo in manipulira z njim, kot je v interesu množičnega…Read more
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Environment and the Arts: Perspectives on Environmental AestheticsEnvironmental Values 13 (1): 121-123. 2004.
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2The Music in My PhilosophyASA Newsletter. 2012.Music has not been as prominent in philosophy or as influential in aesthetics as the visual arts, at least in the Western tradition. Reflecting on my years of experience as both a philosopher and a musician, I am increasingly intrigued by speculating if and how today’s aesthetic discourse might have taken a different direction if music been its central focus. It is tempting to wonder whether, in some cases, the musical art may indeed have had an influence, even if less conspicuous than some othe…Read more
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16Marx's Concept of ManBloomsbury Academic. 2004.A provocative new view of Marx stressing his humanist philosophy and challenging both Soviet distortion and Western ignorance of his basic thinking.
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16Aesthetics and the Theory of CriticismPhilosophy and Phenomenological Research 36 (4): 583-584. 1976.
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245The sensuous and the sensual in aestheticsJournal of Aesthetics and Art Criticism 23 (2): 185-192. 1964.
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30Multinationals, local practice, and the problem of ethical consistencyJournal of Business Ethics 1 (3). 1982.The business practices of multinational corporations raise many provocative moral issues and offer a touchstone for some fundamental ethical concepts. This essay identifies a wide range of problems but centers on the matter of consistency in corporate policy between foreign and domestic practices and the kind of generality of standards that is required to achieve consistency. Two considerations are singled out for illustrative discussion: wage scales and bribes. Proposals are offered for achievi…Read more
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3T. Brunius' "Theory and Taste: Four Studies in Aesthetics" (review)Philosophy and Phenomenological Research 31 (4): 615. 1971.
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8335The aesthetic fieldThomas. 1970.The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered…Read more
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12V. Tejera's "Art and Human Intelligence" (review)Philosophy and Phenomenological Research 29 (2): 307. 1968.
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29Re-Thinking Aesthetics: Rogue Essays on Aesthetics and the ArtsRoutledge. 2016.The essays, collected by Berleant in this volume all express the impulse to reject the received wisdom of modern aesthetics: that art demands a mode of experience sharply different from others and unique to the aesthetic situation, and that the identity of the aesthetic lies in keeping it distinct from other kinds of human experience, such as the moral, the practical, and the social. Berleant shows, on the contrary, that the value, the insight, the force of art and the aesthetic are all enhanced…Read more
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195Notes for a phenomenology of musical performancePhilosophy of Music Education Review 7 (2): 73-79. 1999.In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain …Read more
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Thomas M. Alexander, "John Dewey's Theory of Art, Experience, and Nature: The Horizons of Feeling" (review)Transactions of the Charles S. Peirce Society 24 (2): 193. 1988.
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Introduction: The aesthetics of natureIn Allen Carlson & Arnold Berleant (eds.), The Aesthetics of Natural Environments, Broadview Press. pp. 11--42. 2004.
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1S. Moser's "Absolutism and Relativism in Ethics" (review)Philosophy and Phenomenological Research 29 (3): 465. 1969.