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39.1 Introducing Aesthetic Reasons 39.1 Introducing Aesthetic Reasons
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39.1.1 Some Preliminary Distinctions 39.1.1 Some Preliminary Distinctions
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39.2 Distinctiveness and Modesty 39.2 Distinctiveness and Modesty
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39.3 Motivating Anti-Realism: The Security of Aesthetic Reasons 39.3 Motivating Anti-Realism: The Security of Aesthetic Reasons
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39.4 Motivating Anti-Realism: Aesthetic Disagreement and the Role of Sensibility 39.4 Motivating Anti-Realism: Aesthetic Disagreement and the Role of Sensibility
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39.5 The Authority of Aesthetic Reasons 39.5 The Authority of Aesthetic Reasons
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39.6 Motivating Anti-Realism: Against Aesthetic Duty 39.6 Motivating Anti-Realism: Against Aesthetic Duty
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39.7 A Realist View of Aesthetic Disagreement 39.7 A Realist View of Aesthetic Disagreement
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39.8 A Worry for the Response 39.8 A Worry for the Response
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39.9 Aesthetic Reasons and the Subsumption Account 39.9 Aesthetic Reasons and the Subsumption Account
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39.10 The Possibility of Aesthetic Duty 39.10 The Possibility of Aesthetic Duty
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References References
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39 Aesthetic Reasons
Get accessAndrew McGonigal holds a visiting position in philosophy at Washington and Lee University. Before taking up the position, he taught for twelve years in the Philosophy Department at the University of Leeds. He is a co-editor of the Routledge Companion to Metaphysics, and in 2014–15 was awarded a Society Fellowship at the Society for the Humanities, Cornell University.
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Published:10 July 2018
Cite
Abstract
Aesthetic reasons are reasons to do and think various things. For example, it makes sense to wonder if a tree stump on the lawn was left there for environmental rather than aesthetic reasons, or for no reason at all. Aesthetic considerations of this kind are often contrasted with non-aesthetic reasons—such as moral or epistemic reasons. For example, they seem connected to pleasure-in-experience in a distinctive way that differs from paradigmatic moral reasons. Relatedly, the authority of aesthetic reasons has often been thought to involve less of an “external demand” upon us than in the other cases. In this chapter, I suggest that such distinctiveness and modesty coheres well with an anti-realist treatment that views them as non-objective in nature. I then go on to consider an alternative, more robustly realist conception of aesthetic reasons.
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