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In the 1990s and early 2000s, researchers in the field of so-called neuro-aesthetics recruited research subjects who had been untrained in arts and did not have any pronounced interest in aesthetic matters for their laboratory experiments. The prevalent choice of research subjects has recently changed. Currently, a great number of studies use subjects who are professionally engaged in the art world...
The paper offers a systematic account of Vasily Sesemann’s aesthetics. First, I ar-gue that, due to the primacy this aesthetics grants to intuition, intentionality and the objectivity of aesthetic values, its underlying principles are decidedly phenomenologi-cal. Secondly, I offer an account of the general structures of perceptual acts and I con-tend that the distinctive nature of aesthetic perception...
In this paper I intend to show that the differences between the aesthetic experience and the religious experience do not “close” the dialogue between the aesthetic man (the modern one) and the religious man (the premodern one). Although these two types of experience are distinguished by “the way in which everyone understands its object” (while aesthetic perception implies a kind of “moderate” emotional...
The Caucasus had an image of hostile country full of bloodthirsty barbarians in the Russian representation of the 18th - 19th century. It became a place of exile of inconvenient people from the intelligentsia. The mountains were absolutely new phenomena for the Russians writers coming from the large plains. The Caucasus of the Russian writers is a creation of their imagination, a place where they...
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