| Claire Anscomb |
Does a Mechanistic Etiology Reduce Artistic Agency? |
1-14 |
| Emanuele Arielli |
Aesthetic Opacity |
15-31 |
| Zsolt Bátori |
The Ineffability of Musical Content: Is Verbalisation in Principle Impossible? |
32-45 |
| Marta Benenti |
Expressive Experience and Imagination |
46-72 |
| Pía Cordero |
Towards an Aesthetics of Misalignment. Notes on Husserl’s Structural Model of Aesthetic Consciousness |
73-88 |
| Koray Değirmenci |
Photographic Indexicality and Referentiality in the Digital Age |
89-115 |
| Stefan Deines |
On the Plurality of the Arts |
116-127 |
| Laura Di Summa-Knoop |
Aesthetics and Ethics: On the Power of Aesthetic Features |
128-146 |
| Benjamin Evans |
Beginning with Boredom: Jean-Baptiste Du Bos’s Approach to the Arts |
147-159 |
| Paul Giladi |
Embodied Meaning and Art as Sense-Making: A Critique of Beiser’s Interpretation of the ‘End of Art Thesis’ |
160-182 |
| Lisa Giombini |
Conserving the Original: Authenticity in Art Restoration |
183-201 |
| Moran Godess Riccitelli |
The Aesthetic Dimension of Moral Faith: On the Connection between Aesthetic Experience and the Moral Proof of God in Immanuel Kant’s Third Critique |
202-218 |
| Carlo Guareschi |
Painting and Perception of Nature: Merleau-Ponty’s Aesthetical Contribution to the Contemporary Debate on Nature |
219-233 |
| Amelia Hruby |
A Call to Freedom: Schiller’s Aesthetic Dimension and the Objectification of Aesthetics |
234-245 |
| Xiaoyan Hu |
The Dialectic of Consciousness and Unconsciousnes in Spontaneity of Genius: A Comparison between Classical Chinese Aesthetics and Kantian Ideas |
246-274 |
| Einav Katan-Schmid |
Dancing Metaphors; Creative Thinking within Bodily Movements |
275-290 |
| Lev Kreft |
All About Janez Janša |
291-304 |
| Efi Kyprianidou |
Empathy for the Depicted |
305-332 |
| Stefano Marino |
Ideas Pertaining to a Phenomenological Aesthetics of Fashion and Play : The Contribution of Eugen Fink |
333-361 |
| Miloš Miladinov |
Relation Between Education and Beauty in Plato’s Philosophy |
362-374 |
| Philip Mills |
Perspectival Poetics: Poetry After Nietzsche and Wittgenstein |
375-384 |
| Alain Patrick Olivier |
Hegel’s Last Lectures on Aesthetics in Berlin 1828/29 and the Contemporary Debates on the End of Art |
385-397 |
| Michaela Ott |
‘Afropolitanism’ as an Example of Contemporary Aesthetics |
398-411 |
| Levno Plato |
Kant’s Ideal of Beauty: as the Symbol of the Morally Good and as a Source of Aesthetic Normativity |
412-437 |
| Carlos Portales |
Dissonance and Subjective Dissent in Leibniz’s Aesthetics |
438-452 |
| Isabelle Rieusset-Lemarié |
Aesthetics as Politics: Kant’s Heuristic Insights Beyond Rancière’s Ambivalences |
453-478 |
| Matthew Rowe |
The Artwork Process and the Theory Spectrum |
479-499 |
| Salvador Rubio Marco |
The Cutting Effect: a Contribution to Moderate Contextualism in Aesthetics |
500-509 |
| Marcello Ruta |
Horowitz Does Not Repeat Either! Free Improvisation, Repeatability and Normativity |
510-532 |
| Lisa Katharin Schmalzried |
“All Grace is Beautiful, but not all that is Beautiful is Grace.” A Critical Look at Schiller’s View on Human Beauty |
533-554 |
| Judith Siegmund |
Purposiveness and Sociality of Artistic Action in the Writings of John Dewey |
555-565 |
| Janne Vanhanen |
An Aesthetics of Noise? On the Definition and Experience of Noise in a Musical Context |
566-579 |
| Carlos Vara Sánchez |
The Temporality of Aesthetic Entrainment: an Interdisciplinary Approach to Gadamer’s Concept of Tarrying |
580-590 |
| Iris Vidmar |
A Portrait of the Artist as a Gifted Man: What Lies in the Mind of a Genius? |
591-614 |
| Alberto Voltolini |
Contours, Attention and Illusion |
615-628 |
| Weijia Wang |
Kant’s Mathematical Sublime and Aesthetic Estimation of Extensive Magnitude |
629-653 |
| Zhuofei Wang |
‘Atmosphere’ as a Core Concept of Weather Aesthetics |
654-665 |
