Sentences with phrase «of aesthetic judgment»

Her works re articulate the question of value in terms of aesthetic judgment.

Ignoring the «extremely crude» remark (which seems to be more of an aesthetic judgment), aren't all stunts «dangerous?»

The form of the harmony is grasped in a kind of aesthetic judgment, although «aesthetic» should not be taken to refer exclusively to art or to imply that the value is actually appropriate to the situation.

We all like to slum it, sometimes, but to get too enthusiastic about pop culture materials or, worse, to take them seriously as objects of aesthetic judgment — well, that was an abdication of the critic's responsibilities, not to mention a sign of vulgar taste.

Not exact matches

The interplay of the various sources is subtle and the judgments are often «aesthetic» and dependent upon a variety of factors that include the personal history and psychology of the theologian as well as the extent to which the sources have been grasped and understood.

Myers knows there is a close connection between aesthetic and moral judgments, and he has a lot of both.

Herein resides the dipolar difference between (1) aesthetic judgments which are concerned with both (a) contingent relationships of patterned qualities and (b) necessary relationships (both those conditionally necessary, found in the given patterns, and those metaphysically necessary, found in all possible givens) and (2) logical judgments which are only concerned with the necessary aspects of relatedness.

To grasp that a thing's value is too low or misplaced also requires an aesthetic judgment or intuition of the value.

«Suspension of disbelief or willing suspension of disbelief is a term coined in 1817 by the poet and aesthetic philosopher Samuel Taylor Coleridge, who suggested that if a writer could infuse a «human interest and a semblance of truth» into a fantastic tale, the reader would suspend judgment concerning the implausibility of the narrative.»

Both «symbolic reference» and «propositional feelings» have receptive and imaginative aspects; but, whereas Whitehead emphasized the former, cognitive aspect in his discussion of «symbolic reference,» as a rebuttal to Hume and Kant, he emphasized the latter, creative aspect in his discussion of «propositions,» an emphasis needed to counter «the interest in logic, dominating over-intellectualized philosophers,» among whom «aesthetic delight» is eclipsed by «judgment» (cf. PR 184 - 86 and WH 33) In «symbolic reference» a dim, but indirect, mode of perception («causal efficacy») is combined with a clear, but indirect, mode of perception («presentational immediacy»), which produces a sense of the external world.

If the authentic self is defined largely through its autonomy from the collective standards of social propriety and aesthetic judgment, then conformity to collective expectations is a sign of the self's distortion and even corruption.

He has both a sensitive ability to work with Hebrew and an artistic sensibility that allows him to grasp the aesthetic workings of a text without excessive or premature theological judgment.

They also emphasize that the cosmetic outcomes aren't determined by the amount of fat grafted, but rather by the plastic surgeon's combining careful surgical technique and aesthetic judgment.

There is a misconception that the work of «popular» film critics, with its emphasis on evaluation and aesthetic judgments, sits at odds with that of academics.

Amy, I am deeply offended, by which I mean secretly delighted, that you think enough testosterone courses through my male - critic aesthetic to have clouded my judgment about Ryan Coogler's thoughtful, savvy, fluid, heartfelt, emotional relaunch of a franchise so dormant that six months ago we wouldn't have even called it a franchise!

It's hard for me to imagine how the dominant, non-formalist form of film studies, with its systemic handicap of abstaining from value judgment and not being able to treat the film as an independent aesthetic object capable of producing an infinite variety of affects, can be terribly instructive for the enterprise of film criticism, which necessarily calls for a hierarchy of values on the part of the practitioner and his / her acknowledgement being a sentient, unique subject capable of being transformed by the film.

Behind every one of his decisions is an aesthetic judgment, with those judgments reflecting his taste.

In it, I reflect on the concept of ambivalence, exploring the antinomies of feeling vs. judgment as aesthetic responses, and how that plays out within art criticism and art practice.

In 1960 Greenberg published the most complete articulation of his basis for aesthetic judgment in an essay titled «Modernist Painting.»