Friendship was recognized as a central moral value in the classical period, but it was dismissed from medieval, modern, and twentieth century moral theories. This book argues that this dismissal is unjustifiable. The validity of this claim is established in four steps. First, it proposes the concept of moral paradigm. This concept enables us to explore the source of moral value and to provide a criterion for the evaluation of the adequacy of moral theory. Second, the book explains why medieval, modern and twentieth century moral theorists neglected friendship as a central moral value in their...

This book provides a critical, systematic-analytical, and detailed analysis of creativity in art with special emphasis on the activity of artistic creation and the process of aesthetic perception. Consciously dismissed from the realm of aesthetic discourse during the past century, the book argues that the study of creativity is a primary task of aesthetic theory; understanding its dynamics, source, and the conditions under which it happens is a necessary condition for an adequate analysis of the essential nature of the artistic and the aesthetic.

This book is an in-depth study of the object of reflection in the activity of creating the artwork and the activity of having an aesthetic experience, as well as the epistemological and ontological conditions under which this type of activity takes place. What does the artist express, or communicate, in the activity of creating the artwork? What is the nature of reflection in this activity? What kind of mind reflects on the object of reflection? Similarly, what is object of reflection in the process of aesthetic perception? What kind of object does the perceiver contemplate in the process of...

This book provides a critical, systematic-analytical, and detailed analysis of creativity in art with special emphasis on the activity of artistic creation and the process of aesthetic perception. Consciously dismissed from the realm of aesthetic discourse during the past century, the book argues that the study of creativity is a primary task of aesthetic theory; understanding its dynamics, source, and the conditions under which it happens is a necessary condition for an adequate analysis of the essential nature of the artistic and the aesthetic.