Vítor Guerreiro
Biographic Data
| ID | 1085965 |
|---|---|
| NAME | Vítor Guerreiro |
| GIVEN NAMES | Vítor |
| FAMILY NAME | Guerreiro |
| SIGNATURE | GUERREIRO V |
| AFFILIATIONS | 166427 Universidade do Porto Faculdade de Letras , Instituto de Filosofia da Universidade do Porto Via Panorâmica Edgar Cardoso s / n, 4150-564 , Porto , 4150-564 , Portugal |
| ORCID | 0000-0002-8399-659X |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Between Magic and Amusement
In this article I enquire into the notion of ‘political art’, by drawing on ideas from R. G. Collingwood’s often neglected Principles of Art. I show that his characterisation of ‘expression’ reveals what I call the ‘Narrow Aretaic Structure’ (NAS), distinguishable from a ‘Wide Aretaic Structure’ (WAS). Whatever satisfies NAS satisfies WAS, but not vice-versa. Though we have reasons to call ‘art’ anything satisfying WAS, Collingwoodian ‘art proper…
Quando Há Arte! Ensaios de Homenagem a Maria do Carmo d'Orey
Entanglement and Non-Ontology
In this article we consider Putnam’s project of an “ethics without ontology,” focusing on some of its crucial aspects, namely, the entanglement of fact and value and the idea of forming and “imaginatively identifying” with a “particular evaluative outlook.” We use that approach to shed light on the issue of value objectivity. Putnam’s “pragmatist enlightenment” suggests a way of abandoning the traditional project of grounding ethics and aesthetic…
Unseen beauty
The experience of beauty is no less mysterious for the aesthetician today than it was in the Middle Ages. Here I focus on the notion of ‘unseen beauty’ and how certain aspects of medieval philosophizing about the nature of beauty can still be of use for the contemporary aesthetician. I draw a comparison between some concepts that pervade the whole of the Medieval period – that there is a transcendent source of visible beauty, and that visible bea…
Are musical works sound structures
This paper is about the dilemma raised against musical ontology by Roger Scruton, in his The Aesthetics of Music: either musical ontology is about certain mind-independent ?things? (sound structures) and so music is left out of the picture, or it is about an ?intentional object? and so its puzzles are susceptible of an arbitrary answer. I argue the dilemma is merely apparent and deny that musical works can be identified with sound structures, whe…
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Are musical works sound structures
This paper is about the dilemma raised against musical ontology by Roger Scruton, in his The Aesthetics of Music: either musical ontology is about certain mind-independent ?things? (sound structures) and so music is left out of the picture, or it is about an ?intentional object? and so its puzzles are susceptible of an arbitrary answer. I argue the dilemma is merely apparent and deny that musical works can be identified with sound structures, whe…
Entanglement and Non-Ontology
In this article we consider Putnam’s project of an “ethics without ontology,” focusing on some of its crucial aspects, namely, the entanglement of fact and value and the idea of forming and “imaginatively identifying” with a “particular evaluative outlook.” We use that approach to shed light on the issue of value objectivity. Putnam’s “pragmatist enlightenment” suggests a way of abandoning the traditional project of grounding ethics and aesthetic…
Unseen beauty
The experience of beauty is no less mysterious for the aesthetician today than it was in the Middle Ages. Here I focus on the notion of ‘unseen beauty’ and how certain aspects of medieval philosophizing about the nature of beauty can still be of use for the contemporary aesthetician. I draw a comparison between some concepts that pervade the whole of the Medieval period – that there is a transcendent source of visible beauty, and that visible bea…
Quando Há Arte! Ensaios de Homenagem a Maria do Carmo d'Orey
Between Magic and Amusement
In this article I enquire into the notion of ‘political art’, by drawing on ideas from R. G. Collingwood’s often neglected Principles of Art. I show that his characterisation of ‘expression’ reveals what I call the ‘Narrow Aretaic Structure’ (NAS), distinguishable from a ‘Wide Aretaic Structure’ (WAS). Whatever satisfies NAS satisfies WAS, but not vice-versa. Though we have reasons to call ‘art’ anything satisfying WAS, Collingwoodian ‘art proper…
Philosophy (4 works) · Aesthetics (3 works) · Art (3 works) · Philosophy (3 works) · Epistemology (2 works) · Ethics, Aesthetics, and Art (2 works) · Ontology (2 works) · Sociology (2 works) · Visual Culture and Art Theory (2 works) · Aesthetic Perception and Analysis (1 work)