British Journal of Aesthetics

Papers
(The TQCC of British Journal of Aesthetics is 1. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-05-01 to 2024-05-01.)
ArticleCitations
Schiller on Freedom and Aesthetic Value: Part I10
Learning to Imagine7
Art as Political Discourse6
A Two-Tiered Theory of the Sublime5
Edith Landmann-Kalischer on Aesthetic Demarcation and Normativity5
Let’s be Liberal: An Alternative to Aesthetic Hedonism4
Kant on the Aesthetic Ideas of Beautiful Nature4
Aesthetic Experience and the Unfathomable: A Pragmatist Critique of Hermeneutic Aesthetics4
Schiller on Freedom and Aesthetic Value: Part II4
Hair Oppression and Appropriation4
Reflective and Non-reflective Aesthetic Ideas in Kant’s Theory of Art4
Fiction and Epistemic Value: State of the Art4
Emotion in Fiction: State of the Art3
The Art of Tattoos3
Rethinking Role Realism3
The Ethics and Aesthetics of Intertextual Writing: Cultural Appropriation and Minor Literature3
Feeling Fit for Function: Haptic Touch and Aesthetic Experience3
Country Music and the Problem of Authenticity3
Aesthetic Self-Forgetfulness3
The Heart of Classical Work-Performance3
The Aesthetic Enkratic Principle2
At the Limits: What Drives Experiences of the Sublime2
Musical Affordances and the Transformation Into Structure: How Gadamer can Complement Enactivist Perspectives on Music2
On Snobbery2
‘Truth in Fiction’ Reprised2
Putting the Appropriator Back in Cultural Appropriation2
New Objections to Cultural Appropriation in the Arts2
Practice-Centered Pluralism and a Disjunctive Theory of Art2
Enacting a Jazz Beat: Temporality in Sonic Environment and Symbolic Communication1
Truth in Fiction, Underdetermination, and the Experience of Actuality1
Self-Location in Interactive Fiction1
Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity1
Look a Little (Chuck) Closer: Aesthetic Attention and the Contact Phenomenon1
The Paradox of Rape in Horror Movies1
The Narrative Characteristics of Images1
Institutional Responsibility and Aesthetic Value: Commentary on Erich Hatala Matthes’s Drawing The Line: What to Do with the Work of Immoral Artists from Museums to the Movies1
Style Appropriation, Intimacy, and Expressiveness1
What Makes a Kind an Art-kind?1
Kant on Aesthetic Attention1
Defending the Hypothetical Author1
Novel Assertions: A Reply to Mahon1
Erotic Art as Proprioceptive Art1
Higher-Order Evidence in Aesthetics1
Sense and Reference of Pictures1
Aesthetic Testimony and Aesthetic Authenticity1
The Virtue of Aesthetic Courage1
Aesthetic Higher-Order Evidence for Subjectivists1
Art Concept Pluralism Undermines the Definitional Project1
When does Something ‘Belong’ to a Culture?1
Retitling, Cultural Appropriation, and Aboriginal Title1
Everyone Can Change a Musical Work1
Definition of Fiction: State of the Art1
Environmental Virtue Aesthetics1
‘Andy Warhol’, Tate Modern, London, 12 March – 15 November 2020; then Museum Ludwig, Cologne, 12 December 2020 – 18 April 20211
The Aesthetics of Crossword Puzzles1
Depicting Motion in a Static Image: Philosophy, Psychology and the Perception of Pictures1
Aesthetic Insight and Mental Agency1
Emotions in Music: Hanslick and His False Follower1
The Whole Picture: The colonial story of the art in our museums & why we need to talk about it1
Fictional Discourse: A Reply to von Solodkoff’s ‘Demoting Fictional Names’1
Immoralism is Obviously True: Towards Progress on the Ethical Question1
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