There has long been a need for a work on the philosophy of beauty treating fundamental problems against the background of the history of aesthetics--ancient and medieval as well as modern and contemporary. This book answers that need with the comprehensive presentations of an objectivist philosophy of beauty to balance the currently popular aesthetic subjectivism. It includes a synopsis of views and theories expressed on the various questions about beauty by philosophers down through the ages. Kovach's acquaintance with relevant literature from the ancient Greeks to twentieth-century authors is staggering. He draws on the observations of thinkers from ancient times--Plato, Aristotle. Philo of Alexandria, Cicero, Plotinus, Augustine, Dionysius the Areopagite, and others; from medieval times--Alexander of Hales, John of la Rochelle, Thomas of York, Bonaventure, Albert the Great, Thomas Aquinas, Dionysius the Carthusian, and others; from modern times--Descartes, J. Addison, Kant, Hegel, Schopenhauer, Nietzsche, Tolstoi, Santayana, Croce, Maritain, Sartre, H. Read, Thomas Munro, and others. With delicate precision Kovach systematically discusses the philosophy of beauty and the problems it raises. Whether or not one agrees with Kovach's objectivist position, no one in the field can afford to be without this book.

This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism.

Aesthetic Order challenges contemporary theories of aesthetics, offering the idea of beauty as quantitative yet different from the traditional discursive order. It will be of importance to all interested in aesthetic theory.

A thorough historical survey of philosophies of the arts.

Black is Beautiful identifies and explores the most significant philosophical issues that emerge from the aesthetic dimensions of black life, providing a long-overdue synthesis and the first extended philosophical treatment of this crucial subject. The first extended philosophical treatment of an important subject that has been almost entirely neglected by philosophical aesthetics and philosophy of art Takes an important step in assembling black aesthetics as an object of philosophical study Unites two areas of scholarship for the first time – philosophical aesthetics and black cultural theory, dissolving the dilemma of either studying philosophy, or studying black expressive culture Brings a wide range of fields into conversation with one another– from visual culture studies and art history to analytic philosophy to musicology – producing mutually illuminating approaches that challenge some of the basic suppositions of each Well-balanced, up-to-date, and beautifully written as well as inventive and insightful Winner of The American Society of Aesthetics Outstanding Monograph Prize 2017

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.

Aquinas on Beauty explores the nature and role of beauty in the thought of Thomas Aquinas. Beginning with a standard definition of beauty provided by Aquinas, it explores each of the components of that definition. The result is a comprehensive account of Aquinas’s formal view on the subject, supplemented by an exploration into Aquinas’s commentary on Dionysius’s Divine Names, including a comparison of his views with those of both Dionysius and those of Aquinas’s mentor, Albert the Great. The book also highlights the tight connection in Aquinas’s thought between aesthetics and ethics, and illustrates how Aquinas preserves what is best about aesthetic traditions preceding him, and anticipates what is best about aesthetic traditions that would follow, marrying objective and subjective aesthetic intuitions and charting a kind of via media between the common extremes.