The tricks, dodges, and chicanery, to which they [men] resort in order to be right in the end, are so numerous and manifold and yet recur so regularly that some years ago I made them the subject of my own reflection and directed my attention to their purely formal element after I had perceived that, however varied the subjects of discussion and the persons taking part therein, the same identical tricks and dodges always come back and were very easy to recognize. This led me at the time to the idea of clearly separating the merely formal part of these tricks and dodges from the material and of displaying it, so to speak, as a neat anatomical specimen.
Aesthetic attitude theories are marked by their general insistence on the fundamental importance of the aesthetic attitude. Some of these theories hold that the nature of art is explained by the aesthetic attitude. This is generally accepted as an insufficient way of setting the boundaries of art, for reasons we have already seen, since nature, too, is a perfectly fine thing to take the aesthetic attitude toward. Most aesthetic attitude theories thus offer subtler and more complex accounts of the interaction among the aesthetic attitude, art, and beauty. Indeed, many of these philosophers have been keen on distinguishing a variety of different aesthetic qualities. In addition to beauty, they are interested in sublimity, novelty, charm, and so on.
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