Ever since the eighteenth century, when Kant opened the floodgates of subjectivism in aesthetics, common men and philosophers alike have despaired of finding a basis for judgments about beauty. This book provides a comprehensive theory that encompasses beauty in art and nature, as well as intellectual, utilitarian, and moral beauty. The author argues that the beauty of objects can be reduced to the beauty of properties of those objects, which in turn can be understood in terms of "properties of qualitative degree." The theory, developed first with respect to color, is then extended to include all sensory and non-sensory qualities. The author shows how the theory explicates and resolves disagreements about what is beautiful and discusses its relevance to the traditional notions of harmony and sublimity. His is an objectivist theory of beauty, and it enables him, in conclusion, to demonstrate why we enjoy perceiving beauty. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

A FINALIST FOR THE PULITZER PRIZE NAMED A BEST BOOK OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW, SMITHSONIAN, AND WALL STREET JOURNAL A major reimagining of how evolutionary forces work, revealing how mating preferences—what Darwin termed "the taste for the beautiful"—create the extraordinary range of ornament in the animal world. In the great halls of science, dogma holds that Darwin's theory of natural selection explains every branch on the tree of life: which species thrive, which wither away to extinction, and what features each evolves. But can adaptation by natural selection really account for everything we see in nature? Yale University ornithologist Richard Prum—reviving Darwin's own views—thinks not. Deep in tropical jungles around the world are birds with a dizzying array of appearances and mating displays: Club-winged Manakins who sing with their wings, Great Argus Pheasants who dazzle prospective mates with a four-foot-wide cone of feathers covered in golden 3D spheres, Red-capped Manakins who moonwalk. In thirty years of fieldwork, Prum has seen numerous display traits that seem disconnected from, if not outright contrary to, selection for individual survival. To explain this, he dusts off Darwin's long-neglected theory of sexual selection in which the act of choosing a mate for purely aesthetic reasons—for the mere pleasure of it—is an independent engine of evolutionary change. Mate choice can drive ornamental traits from the constraints of adaptive evolution, allowing them to grow ever more elaborate. It also sets the stakes for sexual conflict, in which the sexual autonomy of the female evolves in response to male sexual control. Most crucially, this framework provides important insights into the evolution of human sexuality, particularly the ways in which female preferences have changed male bodies, and even maleness itself, through evolutionary time. The Evolution of Beauty presents a unique scientific vision for how nature's splendor contributes to a more complete understanding of evolution and of ourselves.

Natural Beauty was selected for the Choice Outstanding Academic Title list for 2008! Natural Beauty presents a bold new philosophical account of the principles involved in making aesthetic judgments about natural objects. It surveys historical and modern accounts of natural beauty and weaves elements derived from those accounts into a “syncretic theory” that centers on key features of aesthetic experience—specifically, features that sustain and reward attention. In this way, Moore’s theory sets itself apart from both the purely cognitive and the purely emotive approaches that have dominated natural aesthetics until now. Natural Beauty shows why aesthetic appreciation of works of art and aesthetic appreciation of nature can be mutually reinforcing; that is, how they are cooperative rather than rival enterprises. Moore also makes a compelling case for how and why the experience of natural beauty can contribute to the larger project of living a good life.

In Judgments of Beauty in Theory Evaluation, Devon Brickhouse-Bryson argues that judgments of beauty are a justified part of theory evaluation of all sorts, including both scientific theory evaluation and philosophical theory evaluation. He supports this argument with an account of beauty—inherited from Kant and Mothersill—on which the distinctive nature of judgments of beauty is that they are unprincipled, yet possible. Brickhouse-Bryson analyzes two important methods of theory evaluation—reflective equilibrium and simplicity—and argues that these methods require making judgments of beauty understood. He further argues that these methods of theory evaluation are not anomalies, but that they point to a deeper lesson about the nature of theorizing and the necessity of using judgments of beauty to evaluate systems, like theories. This book has implications for the debate in philosophy of science over judgments of beauty and also prompts a reckoning in philosophy itself over the use of judgments of beauty in philosophical theory evaluation.

The author of the introduction to this new edition, John McCormick, reminds us that The Sense of Beauty is the first work in aesthetics written in the United States. Santayana was versed in the history of his subject, from Plato and Aristotle to Schopenhauer and Taine in the nineteenth century. Santayana took as his task a complete rethinking of the idea that beauty is embedded in objects. Rather, beauty is an emotion, a value, and a sense of the good. In this aesthetics was unlike ethics: not a correction of evil or pursuit of the virtuous. Rather it is a pleasure that residues in the sense of self. The work is divided into chapters on the materials of beauty, form, and expression. A good many of Santayana's later works are presaged by this early effort. And this volume also anticipates the development of art as a movement as well as a value apart from other aspects of life.

This book might as well have been entitled in a more general way "Semantics of the Qur'an" but for the fact the main part of the present study is almost extensively concerned with the problem of the personal relation between God and man in the Qur'anic worldview. Coming from the pen of the first serious Asian scholar and a Japanese, this book is now available in a new improved edition.

No values figure as pervasively and intimately in our lives as beauty and other aesthetic values. They animate the arts, as well as design, fashion, food, and entertainment. They orient us upon the natural world. And we even find them in the deepest insights of science and mathematics. For centuries, however, philosophers and other thinkers have identified beauty with what brings pleasure. Concerned that aesthetic hedonism has led us to question beauty's significance, Dominic McIver Lopes offers an entirely new theory of beauty in this volume. Beauty engages us in action, in concert with others, in the context of social networks. Lopes's 'network theory' explains the social dimension of aesthetic agency, the tie between beauty and pleasure, the importance of disagreement in matters of taste, and the reality of aesthetic values as denizens of the natural world. The two closing chapters shed light on why aesthetic engagement is so important to quality of life, and why it deserves (and gets) lavish public support. Being for Beauty offers a fresh contribution to aesthetics but also to thinking about metanormativity, the metaphysics of value, and virtue theory.