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Appiah, K. A. (2008), Experiments in Ethics . Cambridge, MA: Harvard University Press. Beardsley, M. C. (1982), The Aesthetic Point of View: Selected Essays, ed. M. J. Wreen and D. M. Callen. Ithaca: Cornell University Press . Budd, M. (2002), The Aesthetic Appreciation of Nature . Oxford: Clarendon Press. Campbell, R. and Hunter, B. (2000), Moral Epistemology Naturalized ( Canadian Journal of Philosophy , Supp. Vol. 26). Calgary, AB: University of Calgary Press. Carroll, N. (1999), Philosophy of Art: A Contemporary Introduction. London: Routledge. —(2001), Beyond Aesthetics: Philosophical Essays . Cambridge, UK: Cambridge University Press. Churchland, P. (1986), Neurophilosophy . Cambridge, MA: MIT Press. Collingwood, R. G. (2008), An Essay on Philosophical Method, revised edn. Oxford: Oxford University Press. Currie, G. (1989), An Ontology of Art . Basingstoke: Macmillan. —(1995), Image and Mind: Film, Philosophy, and Cognitive Science . Cambridge: Cambridge University Press. Dancy, J. (1985), Introduction to Contemporary Epistemology . Oxford: Blackwell. Davies, D. (2004), Art as Performance . Oxford: Blackwell. Dempster, D. (1985), “Aesthetic Experience and Psychological Defi nitions of Art.” Journal of Aesthetics and Art Criticism , 44 (2), pp. 153–65. Dickie, G. (1962), “Is Psychology Relevant to Aesthetics?” The Philosophical Review , 71 (3), pp. 285–302. Elton, W. (1954), Aesthetics and Language . Oxford: Oxford University Press. Gaut, B. (2007), Art, Emotion, and Ethics . Oxford: Oxford University Press. Gettier, E. (1963), “Is Justifi ed True Belief Knowledge?” Analysis , 23 (6), pp. 121–3. Goldman, A. (1998), Aesthetic Value . Boulder: Westview Press. Goodman, N. (1983), Fact, Fiction, and Forecast , 4th edn. Cambridge: Harvard University Press. Harman, G. (1977), The Nature of Morality . Oxford: Oxford University Press. —(1999), Reasoning, Meaning, and Mind . Oxford: Clarendon Press. Hepburn, R. (1966), “Contemporary Aesthetics and the Neglect of Natural Beauty,” in British Analytical Philosophy , ed. B. Williams and A. Montefi ore. London: Routledge, pp. 285–310. —(1996), “Data and Theory in Aesthetics: Philosophical Understanding and Misunderstanding,” in Verstehen and Humane Understanding, ed. A. O’Hear. Cambridge: Cambridge University Press, pp. 235–52.
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Chapter 3
Adajian, T. (2005), “On the Prototype Theory of Concepts and the Defi nition of Art.” Journal of Aesthetics and Art Criticism , 63 (3), pp. 231–36. Aristotle (1941), “Topics,” in The Basic Works of Aristotle, ed. R. McKeon. New York: Random House, pp. 188–207. Blackburn, S. (1984), Spreading the Word: Groundings in the Philosophy of Language. Oxford: Oxford University Press. Boyd, R. (1988), “How to Be a Moral Realist,” in Essays on Moral Realism , ed. G. Sayre-McCord. Ithaca: Cornell University Press, pp. 181–228. —(1989), “What Realism Implies and What It Does Not.” Dialectica , 43 (1), pp. 5–29. —(1991), “Realism, Anti-Foundationalism, and the Enthusiasm for Natural Kinds.” Philosophical Studies , 61 (1–2), pp. 127–48. —(1997), “Kinds as the ‘Workmanship of Men’: Realism, Constructivism, and Natural Kinds,” in Rationalität, Realismus, Revision: Proceedings of the Third International Congress, Gesellschaft für Analytische Philosophie , ed. J. Nida- Rümelin. Berlin: de Gruyter, pp. 52–89. —(1999a), “Kinds, Complexity and Multiple Realization.” Philosophical Studies , 95 (1–2), pp. 67–98. —(1999b), “Homeostasis, Species, and Higher Taxa,” in Species: New Interdisciplinary Essays , ed. R. Wilson. Cambridge: MIT Press, pp. 141–85. Brigandt, I. (2003), “Species Pluralism Does Not Imply Species Eliminativism.” Philosophy of Science , 70 (5), pp. 1305–16. —(2009), “Natural Kinds in Evolution and Systematics: Metaphysical and Epistemological Considerations.” Acta Biotheoretica , 57 (1–2), pp. 77–97. Carroll, N. (1999), Philosophy of Art: A Contemporary Introduction. New York: Routledge. —(ed.) (2000), Theories of Art Today . Madison: University of Wisconsin Press. Davies, D. (2004), Art as Performance . Oxford: Blackwell. Davies, S. (1991), Defi nitions of Art . Ithaca: Cornell University Press. —(2003a), “Essential Distinctions for Art Theorists,” in Art and Essence , ed. S. Davies and A. C. Sukla. Westport: Praeger, pp. 3–17. —(2006), Philosophy of Art . New York: Blackwell. Davies, S. and Sukla, A. C. (eds) (2003b), Art and Essence . Westport: Praeger. Davis, W. (2003), Meaning, Expression, and Thought . Cambridge: Cambridge University Press. DePaul, M. and Ramsey, W. (eds) (1998), Rethinking Intuition: The Psychology of Intuition and Its Role in Philosophical Inquiry. Lanham: Rowman and Littlefi eld. Dickie, G. (1984), The Art Circle: A Theory of Art . New York: Haven. —(2001), Art and Value . Malden: Wiley-Blackwell. Dutton, D. (2003), “Universalism, Evolutionary Psychology, and Aesthetics,” in Art and Essence , ed. S. Davies and A. C. Sukla. Westport: Praeger, pp. 213–27. —(2009), The Art Instinct . New York: Bloomsbury Press. Earl, D. (2006), “Concepts and Properties.” Metaphysica , 7 (1), pp. 67–85.
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Elliot, R. (1966–7), “Aesthetic Theory and the Experience of Art.” Proceedings of the Aristotelian Society , NS 67, pp. 111–26. Gaut, B. (2000), “‘Art’ as a Cluster Concept,” in Theories of Art Today , ed. N. Carroll. Madison: University of Wisconsin Press, pp. 25–44. Griffi ths, P. (1999), “Squaring the Circle: Natural Kinds with Historical Essences,” in Species: New Interdisciplinary Essays , ed. R. Wilson. Cambridge: MIT Press, pp. 209–28. Hamilton, J. (2007), The Art of Theater . New York: Blackwell. Kulvicki, J. (2006), On Images: Their Structure and Content. Oxford: Clarendon Press. Leiter, B. (ed.) (2005), The Future for Philosophy. Oxford: Oxford University Press. Levinson, J. (1991a), “Defi ning Art Historically,” in Music, Art, and Metaphysics: Essays in Philosophical Aesthetics . Ithaca: Cornell University Press, pp. 3–25. —(1991b), “Refi ning Art Historically,” in Music, Art, and Metaphysics: Essays in Philosophical Aesthetics . Ithaca: Cornell University Press, pp. 37–59. Lopes, D. M. (1996), Understanding Pictures . Oxford: Oxford University Press. —(2005), Sight and Sensibility: Evaluating Pictures. Oxford: Oxford University Press. —(2008), “Nobody Needs a Theory of Art.” Journal of Philosophy , 105 (3), pp. 109–27. Lucas, J. (2000), The Conceptual Roots of Mathematics . London: Routledge. Lynch, M. (2000), Truth in Context: An Essay on Pluralism and Objectivity. Cambridge: MIT Press. Mallon, R. (2003), “Social Construction, Social Roles, and Stability,” in Socializing Metaphysics: The Nature of Social Reality, ed. F. Schmitt. Lanham: Rowman and Littlefi eld, pp. 327–54. —(2007), “Human Categories Beyond Non-Essentialism.” Journal of Political Philosophy , 15 (2), pp. 146–68. Matravers, D. (2000), “The Institutional Theory: A Protean Creature.” British Journal of Aesthetics , 40 (2), pp. 242–50. —(2007), “Institutional Defi nitions and Reasons.” British Journal of Aesthetics , 47 (3), pp. 251–57. Matravers, D. and Pike, J. (eds) (2003), Debates in Contemporary Political Philosophy: An Anthology . New York: Routledge. Meskin, A. (2008), “From Defi ning Art to Defi ning the Individual Arts: The Role of Theory in the Philosophies of Arts,” in New Waves in Aesthetics, ed. K. Stock and K. Thomson-Jones. New York: Palgrave Macmillan, pp. 125–49. Michaelian, K. (2008), “Testimony as a Natural Kind.” Episteme , 5 (2), pp. 180–202. Moravcsik, J. (1993), “Why Philosophy of Art in Cross-Cultural Perspective?” Journal of Aesthetics and Art Criticism , 51 (3), pp. 425–36. Peirce, C. S. (1998), “Science and Natural Classes,” in The Essential Peirce: Selected Philosophical Writings, Vol. 2. Bloomington: Indiana University Press, pp. 115–33. Railton, P. (2003), Facts, Values, and Norms: Essays Toward a Morality of Consequence. Cambridge: Cambridge University Press. Ramsey, W. (2003), “Prototypes and Conceptual Analysis,” in Rethinking Intuition: The Psychology of Intuition and Its Role in Philosophical Inquiry, ed. M. DePaul and W. Ramsey. Lanham: Rowman and Littlefi eld, pp. 161–79.
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Ribeiro, A. (2007), “Intending to Repeat: A Defi nition of Poetry.” Journal of Aesthetics and Art Criticism , 65 (2), pp. 189–201. Rubin, M. (2008), “Is Goodness a Homeostatic Property Cluster?” Ethics , 118 (3), pp. 496–528. Scheler, M. (1973), Formalism in Ethics and Non-Formal Ethics of Values , trans. M. Frings and R. Funk. Evanston: Northwestern University Press. Sher, G. (2002), “Logical Consequence: An Epistemic Outlook.” The Monist , 85 (4), pp. 555–79. —(2004), “In Search of a Substantive Theory of Truth.” Journal of Philosophy , 101 (1), pp. 5–36. —(2005), “Functional Pluralism.” Philosophical Books , 46 (4), pp. 311–30. Sober, E., Levine, A., and Wright, E. (2003), “Marxism and Methodological Individualism,” in Debates in Contemporary Political Philosophy: An Anthology , ed. D. Matravers and J. Pike. New York: Routledge, pp. 54–69. Stecker, R. (1996), “Alien Objections to Historical Defi nitions of Art.” British Journal of Aesthetics , 36 (3), pp. 305–8. —(1997), Artworks: Defi nition, Meaning, Value. University Park: Pennsylvania State University Press. —(2000), “Is It Reasonable to Attempt to Defi ne Art?” in Theories of Art Today , ed. N. Carroll. Madison: University of Wisconsin Press, pp. 45–63. —(2005), Aesthetics and the Philosophy of Art . Lanham: Rowman and Littlefi eld. Stock, K. (2003), “Historical Defi nitions of Art,” in Art and Essence , ed. S. Davies and A. C. Sukla. Westport: Praeger, pp. 159–77. Sturgeon, N. (1985), “Gibbard on Moral Judgment and Norms.” Ethics , 96 (1), pp. 22–33. —(2003), “Moore on Ethical Naturalism.” Ethics , 113 (3), pp. 528–56. Tatarkiewicz, W. (2005), History of Aesthetics, Vol. 1: Ancient Aesthetics , trans. Adam Czerniawski and Ann Czerniawski. London: Continuum. Walton, K. (1997), “Review of G. Dickie, Art and the Aesthetic: An Institutional Analysis.” Philosophical Review , 86 (1), pp. 97–101. Warmbrod, K. (1999), “Logical Constants.” Mind , 108 (431), pp. 503–38. Weitz, M. (1956), “The Role of Theory in Aesthetics.” Journal of Aesthetics and Art Criticism , 15 (1), pp. 27–35. Williamson, T. (2005), “Past the Linguistic Turn?” in The Future for Philosophy , ed. B. Leiter. Oxford: Oxford University Press, pp. 106–27. Wilson, R. (1999), “Realism, Essence, and Kind: Resuscitating Species Essentialism?” in Species: New Interdisciplinary Essays . Cambridge: MIT Press, pp. 187–207. Wilson, R., Barker, M., and Brigandt, I. (forthcoming), “When Traditional Essentialism Fails: Biological Natural Kinds,” Philosophical Topics .
Chapter 4
Baker, L. R. (1997), “Why Constitution Is Not Identity.” Journal of Philosophy , 94 (12), pp. 599–621. —(2000), Persons and Bodies: A Constitution View. Cambridge: Cambridge University Press.
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Collingwood, R. G. (1938), The Principles of Art . London: Oxford University Press. Croce, B. (1921), The Essence of Aesthetic , trans. D. Ainslie. London: Heinemann. Currie, G. (1989), An Ontology of Art . New York: St. Martin’s Press. Danto, A. (1981), The Transfi guration of the Commonplace: A Philosophy of Art. Cambridge: Harvard University Press. Davies, D. (2004), Art as Performance . Malden: Blackwell. Davies, S. (2003), “Ontology of Art,” in The Oxford Handbook of Aesthetics , ed. J. Levinson. Oxford: Oxford University Press, pp. 155–80. —(2004), Musical Works and Performances . Oxford: Clarendon Press. Dilworth, J. (2005), The Double Content of Art . Amherst: Prometheus Books. —(2007), “In Support of Content Theories of Art.” Australasian Journal of Philosophy , 85 (1), pp. 19–39. —(2008a), “The Abstractness of Artworks and Its Implications for Aesthetics.” Journal of Aesthetics and Art Criticism , 66 (4), pp. 341–53. —(2008b), “The Propositional Challenge to Aesthetics.” British Journal of Aesthetics , 48 (2), pp. 115–44. Ducasse, C. J. (1929), The Philosophy of Art . New York: Dial Press. —(1944), Art, the Critics, and You . New York: Hafner. Irvin, S. (2005), “The Artist’s Sanction in Contemporary Art.” Journal of Aesthetics and Art Criticism , 63 (4), pp. 315–26. —(2008), “The Ontological Diversity of Visual Artworks,” in New Waves in Aesthetics, ed. K. Stock and K. Thomson-Jones. New York: Palgrave Macmillan, pp. 1–19. Johnston, M. (1992), “Constitution Is Not Identity.” Mind , 101 (401), pp. 89–105. Levinson, J. (1980), “What a Musical Work Is.” Journal of Philosophy, 77 (1), pp. 5–28. —(1985), “Titles.” Journal of Aesthetics and Art Criticism , 44 (1), pp. 29–39. —(1996), “The Work of Visual Art,” in The Pleasures of Aesthetics. Ithaca: Cornell University Press, pp. 129–37. Lopes, D. M. (2007), “Shikinen Sengu and the Ontology of Architecture in Japan.” Journal of Aesthetics and Art Criticism , 65 (1), pp. 77–84. Macdonald, M. (1952–3), “Art and Imagination.” Proceedings of the Aristotelian Society , 53, pp. 205–26. Marcus, R. B. (1961), “Modalities and Intensional Languages.” Synthese , 13 (4), pp. 303–22. Margolis, J. (1974), “Works of Art as Physically Embodied and Culturally Emergent Entities.” British Journal of Aesthetics , 14 (3), pp. 187–96. Matheson, C. and Caplan, B. (2008), “Modality, Individuation, and the Ontology of Art.” Canadian Journal of Philosophy , 38 (4), pp. 491–518. Rohrbaugh, G. (2003), “Artworks as Historical Individuals.” European Journal of Philosophy , 11 (2), pp. 177–205. Salmon, N. (1979), “How Not to Derive Essentialism from the Theory of Reference.” Journal of Philosophy , 76 (12), pp. 703–25. Stecker, R. (1997), “The Constructivist’s Dilemma.” Journal of Aesthetics and Art Criticism , 55 (1), pp. 43–52.
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—(2003), “The Ontology of Art Interpretation,” in Art and Essence, ed. S. Davies and A. C. Sukla. Westport, CT: Praeger, pp. 177–91. Thomasson, A. (2004), “The Ontology of Art,” in The Blackwell Guide to Aesthetics , ed. P. Kivy. Malden: Blackwell, pp. 78–92. Wacker, J. (1960), “Particular Works of Art.” Mind , 69, pp. 223–33. Walton, K. (1970), “Categories of Art.” Philosophical Review , 79 (3), pp. 334–67. Weitz, M. (1956), “The Role of Theory in Aesthetics.” Journal of Aesthetics and Art Criticism , 15 (1), pp. 27–35. Wollheim, R. (1968), Art and Its Objects: An Introduction to Aesthetics . New York: Harper and Row. —(1980), “A Note on the Physical Object Hypothesis,” in Art and Its Objects , 2nd edn. Cambridge: Cambridge University Press, pp. 177–84. Wolterstorff, N. (1980), Works and Worlds of Art . Oxford: Clarendon Press.
Chapter 5
Beardsley, M. C. (1982), “Aesthetic Experience,” in The Aesthetic Point of View: Selected Essays , ed. M. J. Wreen and D. M. Callen. Ithaca: Cornell University Press, pp. 285–97. —(2004), “An Aesthetic Defi nition of Art,” in Aesthetics and the Philosophy of Art: The Analytic Tradition, ed. P. Lamarque and S. H. Olson. Oxford: Blackwell, pp. 55–62. Budd, M. (1995), Values of Art: Pictures, Poetry, Music . Harmondsworth: Penguin. —(2007), “The Intersubjective Validity of Aesthetic Judgements.” British Journal of Aesthetics , 47 (4), pp. 333–71. —(2008), “Aesthetic Essence,” in Aesthetic Experience , ed. R. Shusterman and A. Tomlin. London: Routledge. Bullough, E. (1995), “Psychical Distance,” in The Philosophy of Art: Readings Ancient and Modern , ed. A. Neill and A. Ridley. New York: McGraw-Hill, pp. 297–311. Carroll, N. (1986), “Art and Interaction.” Journal of Aesthetics and Art Criticism , 45 (1), pp. 57–68. —(2002), “The Aesthetic Experience Revisited.” British Journal of Aesthetics , 42 (2), pp. 145–68. —(2006), “Aesthetic Experience: A Question of Content,” in Contemporary Debates in Aesthetics and the Philosophy of Art , ed. M. Kieran. Oxford: Blackwell, pp. 69–97. Dickie, G. (1973), “Psychical Distance: In a Fog at Sea.” British Journal of Aesthetics , 13 (1), pp. 17–29. —(1974), Art and Aesthetic . Ithaca: Cornell University Press. —(1997), Introduction to Aesthetics . Oxford: Oxford University Press. Guyer, P. (2003), “The Cognitive Element in Aesthetic Experience: Reply to Matravers.” British Journal of Aesthetics , 43 (4), pp. 412–18. Iseminger, G. (2003), “Aesthetic Experience,” in The Oxford Handbook of Aesthetics , ed. J. Levinson. Oxford: Oxford University Press, pp. 99–115. —(2004), The Aesthetic Function of Art . Ithaca: Cornell University Press.
philosophy.ribeiro.continuumbooks.com © Anna Christina Ribeiro (eds) (2012) The Continuum Companion to Aesthetics London: Continuum Books Bibliography
Levinson, J. (1996), “What Is Aesthetic Pleasure?” in The Pleasures of Aesthetics . Ithaca: Cornell University Press, pp. 3–10. Matravers, D. (2003), “The Aesthetic Experience.” British Journal of Aesthetics , 43 (3), pp. 158–74. Stolnitz, J. (1960), Aesthetics and the Philosophy of Art Criticism . Cambridge: Riverside Press. Walton, K. (1993), “How Marvelous! Toward a Theory of Aesthetic Value.” Journal of Aesthetics and Art Criticism , 51 (3), pp. 499–510.
Chapter 6
Ayer, A. J. (1936), Language, Truth and Logic . London: Gollancz. Bender, J. (1996), “Realism, Supervenience, and Irresolvable Aesthetic Disputes.” Journal of Aesthetics and Art Criticism , 54 (4), pp. 371–81. —(2001), “Sensitivity, Sensibility, and Aesthetic Realism.” Journal of Aesthetics and Art Criticism , 59 (1), pp. 73–83. Blackburn, S. (1993), Essays in Quasi-Realism . New York and Oxford: Oxford University Press. Budd, M. (2005), “Aesthetic Realism and Emotional Qualities in Music.” British Journal of Aesthetics , 45 (2), pp. 111–22. Carroll, N. (1984), “Hume’s Standard of Taste.” Journal of Aesthetics and Art Criticism , 43 (2), pp. 181–94. Cohen, T. (1973), “Aesthetic/Non–Aesthetic and the Concept of Taste.” Theoria , 39 (1–3), pp. 113–52. Eaton, M. M. (1994), “The Intrinsic, Non-Supervenient Nature of Aesthetic Properties.” Journal of Aesthetics and Art Criticism , 52 (4), pp. 279–93. Goldman, A. (1995), Aesthetic Value . Oxford: Westview Press. Hampshire, S. (1954), “Logic and Appreciation,” in Aesthetics and Language , ed. W. Elton. Oxford: Blackwell, pp. 161–9. Hermerén, G. (1988), “The Variety of Aesthetic Qualities,” in Aesthetic Quality and Aesthetic Experience , ed. M. Mitias. Amsterdam: Rodopi, pp. 11–23. Hume, D. (1965), Of the Standard of Taste and Other Essays , ed. J. Lenz. Indianapolis: Bobbs-Merrill. Johnston, M. (1989), “Dispositional Theories of Value.” Proceedings of the Aristotelian Society , Supp. Vol. 63, pp. 139–74. Kant, I. (2000), Critique of the Power of Judgment , ed. and trans. P. Guyer. New York: Cambridge University Press. Korsmeyer, C. (1997), “Taste as Sense and Sensibility.” Philosophical Topics , 25 (1), pp. 201–30. Levinson, J. (1994), “Being Realistic about Aesthetic Properties.” Journal of Aesthetics and Art Criticism . 52 (3), pp. 351–4. —(1996), “Aesthetic Supervenience,” in The Pleasures of Aesthetic: Philosophical Essays . Ithaca: Cornell University Press, pp. 134–58. —(2001), “Aesthetic Properties, Evaluative Force, and Differences of Sensibility,” in Aesthetic Concepts: Essays after Sibley, ed. E. Brady and J. Levinson. Oxford: Clarendon Press, pp. 61–80.
philosophy.ribeiro.continuumbooks.com © Anna Christina Ribeiro (eds) (2012) The Continuum Companion to Aesthetics London: Continuum Books Bibliography
—(2002), “Hume’s Standard of Taste: The Real Problem.” Journal of Aesthetics and Art Criticism , 60 (3), pp. 227–38. —(2005), “What Are Aesthetic Properties?” Proceedings of the Aristotelian Society , Supp. Vol. 78, pp. 211–27. Matravers, D. (2005), “Aesthetic Properties.” Proceedings of the Aristotelian Society , Supp. Vol. 78, pp. 191–210. McDowell, J. (1983), “Aesthetic Value, Objectivity, and the Fabric of the World,” in Pleasure, Preference and Value , ed. E. Schaper. Cambridge: Cambridge University Press, pp. 1–16 (reprinted in McDowell, 1998). —(1985), “Values and Secondary Qualities,” in Morality and Objectivity , ed. T. Honderich. London: Routledge and Kegan Paul, pp. 110–29 (reprinted in McDowell, 1998). —(1998), Mind, Value and Reality . Cambridge: Harvard University Press. Mitias, M. H. (1988a), What Makes an Experience Aesthetic? Amsterdam: Rodopi. —(ed.) (1988b), Aesthetic Quality and Aesthetic Experience . Amsterdam: Rodopi. Mothersill, M. (1989), “Aesthetic Laws, Principles and Properties: A Response to Eddy Zemach.” Journal of Aesthetics and Art Criticism , 47 (1), pp. 77–82. Pettit, P. (1983), “The Possibility of Aesthetic Realism,” in Pleasure, Preference and Value , ed. E. Schaper. Cambridge: Cambridge University Press, pp. 17–38. —(1991), “Realism and Response-Dependence,” in Response-Dependent Concepts . Canberra: ANU Working Papers in Philosophy, 1, pp. 4–45 (reprinted in Mind 100 (1991), pp. 587–626). Schellekens, E. (2006), “Towards a Reasonable Objectivism for Aesthetic Judgements.” British Journal of Aesthetics , 46 (2), pp. 163–77. —(2008), “Three Debates in Meta-Aesthetics: Realism, Objectivism, Cognitivism,” in New Waves in Aesthetics , ed. K. Stock and K. Thomson- Jones. Basingstoke: Palgrave Macmillan, pp. 170–87. Scruton, R. (1982), Art and Imagination: A Study in the Philosophy of Mind . London: Routledge and Kegan Paul. Sibley, F. (1959), “Aesthetic Concepts.” Philosophical Review , 68 (4), pp. 421–50 (reprinted in Sibley 2001). —(1965), “Aesthetic and Nonaesthetic.” Philosophical Review , 74 (2), pp. 135–59 (reprinted in Sibley 2001). —(1968), “Objectivity and Aesthetics.” Proceedings of the Aristotelian Society , Supp. Vol. 42, pp. 31–54 (reprinted in Sibley 2001). —(2001), Approach to Aesthetics: Collected Papers , ed. J. Benson, B. Redfern, and J. Roxbee Cox. Oxford: Clarendon Press. Todd, C. (2004), “Quasi-Realism, Acquaintance, and the Normative Claims of Aesthetic Judgement.” British Journal of Aesthetics , 44 (3), pp. 277–96. Wiggins, D. (1991), “Moral Cognitivism, Moral Relativism and Motivating Moral Beliefs.” Proceedings of the Aristotelian Society , Supp. Vol. 91, pp. 61–85. —(1998), “A Sensible Subjectivism?” in Needs, Values, Truth , 3rd edn. Oxford: Clarendon Press, pp. 185–214. Wright, C. (1988), “Moral Values, Projection and Secondary Qualities.” Proceedings of the Aristotelian Society , Supp. Vol. 62, pp. 1–26. —(1992), Truth and Objectivity . Cambridge: Harvard University Press.
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Chapter 7
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Chapter 10
Alward, P. (2009), “Onstage Illocution.” Journal of Aesthetics and Art Criticism , 67 (3), pp. 321–31. Aristotle (1984), Poetics , trans. I. Bywater. New York: McGraw-Hill. Auslander, P. (2007), “Humanoid Boogie: Refl ections on Robotic Performance,” in Staging Philosophy: Intersections of Theater, Performance, and Philosophy , ed. D. Krasner and D. Z. Saltz. Ann Arbor: University of Michigan Press, pp. 87–103. Carroll, N. (1998), A Philosophy of Mass Art . Oxford: Clarendon Press. —(2001), “Interpretation, Theatrical Performance, and Ontology.” Journal of Aesthetics and Art Criticism , 59 (3), pp. 313–6. Hamilton, J. (2001), “Theatre,” in The Routledge Companion to Aesthetics , ed. B. Gaut and D. M. Lopes. London: Routledge. —(2007), The Art of Theater . Oxford: Blackwell. Krasner, D. and Saltz, D. Z. (2006), Staging Philosophy: Intersections of Theater, Performance, and Philosophy . Ann Arbor: University of Michigan Press. Kristeller, P. O. (1951), “The Modern System of the Arts: A Study in the History of Aesthetics, Part I.” Journal of the History of Ideas , 12 (4), pp. 496–527. —(1952), “The Modern System of the Arts: A Study in the History of Aesthetics, Part II.” Journal of the History of Ideas , 13 (1), pp. 17–46. Osipovich, D. (2006), “What Is a Theatrical Performance?” Journal of Aesthetics and Art Criticism , 64 (4), pp. 461–70. Saltz, D. Z. (1991), “How To Do Things on Stage.” Journal of Aesthetics and Art Criticism , 49 (1), pp. 32–45. —(2001), “What Theatrical Performance Is (Not): The Interpretative Fallacy.” Journal of Aesthetics and Art Criticism , 59 (3), pp. 299–306. —(2006), “Infi ction and Outfi ction: The Role of Fiction in Theatrical Performance,” in Staging Philosophy: Intersections of Theater, Performance, and Philosophy , ed. D. Krasner and D. Z. Saltz. Ann Arbor: University of Michigan Press, pp. 203–20. Searle, J. (1979), “The Logical Status of Fictional Discourse,” in Expression and Meaning. Cambridge: Cambridge University Press, pp. 58–75. Wollheim, R. (1968), Art and Its Objects . New York: Harper and Row. Woodruff, P. (2008), The Necessity of Theater . Oxford: Oxford University Press.
Chapter 11
Au, S. (1988), Ballet and Modern Dance . London: Thames and Hudson, Ltd. Beardsley, M. (1982), “What Is Going On in a Dance?” Dance Research Journal , 15 (1), pp. 31–6. Best, D. N. (1974), Expression and Movement in the Arts: A Philosophical Enquiry. London: Lepus Books. Carroll, N. (2003), “Dance,” in The Oxford Handbook of Aesthetics, ed. J. Levinson. Oxford: Oxford University Press, pp. 583–93.
philosophy.ribeiro.continuumbooks.com © Anna Christina Ribeiro (eds) (2012) The Continuum Companion to Aesthetics London: Continuum Books Bibliography
Carroll, N. and Banes, S. (1982), “Working and Dancing: A Response to Monroe Beardsley’s ‘What Is Going On in a Dance?’” Dance Research Journal , 15 (1), pp. 37–41. Cohen, S. J. (1982), Next Week, Swan Lake: Refl ections on Dance and Dances . Middletown: Wesleyan University Press. Conroy, R. (2009), “The Art of Re-Making Dances: A Philosophical Analysis of Dancework Reconstruction,” Ph.D. dissertation, University of Washington. Ann Arbor, MI: ProQuest Information and Learning. Cooper Albright, A. (1997), Choreographing Difference: The Body and Identity in Contemporary Dance . Middletown, CT: Wesleyan University Press. Croce, A. (1982), Going to the Dance . New York: Alfred A. Knopf. H’Doubler, M. N. (1940), Dance: A Creative Art Experience , revised edn. Madison, WI: University of Wisconsin Press. Kirstein, L. (1987), Dance: A Short History of Classic Theatrical Dancing: Anniversary Edition. Pennington: Princeton. Levin, D. M. (1977), “Philosophers and the Dance,” in What Is Dance? Readings in Theory and Criticism, ed. R. Copeland and M. Cohen. Oxford: Oxford University Press, pp. 85–94. Martin, J. (1965), The Dance in Theory , revised edn. Pennington: Princeton. McFee, G. (1992), Understanding Dance . London: Routledge. —(2001), “Dance,” in The Routledge Companion to Aesthetics , ed. B. Gaut and D. M. Lopes. London: Routledge, pp. 545–56. —(2004), The Concept of Dance Education , revised edn. Eastbourne: Pageantry Press. Montero, B. (2006), “Proprioception as an Aesthetic Sense.” Journal of Aesthetics and Art Criticism , 64 (2), pp. 230–42. Siegel, M. (1972), At the Vanishing Point. New York: Saturday Review Press. Sparshott, F. (1983), “Why Philosophy Neglects the Dance,” in What Is Dance? Readings in Theory and Criticism. Oxford: Oxford University Press, pp. 94–102. —(1988), Off the Ground: First Steps to a Philosophical Consideration of the Dance. Princeton: Princeton University Press. —(1995), A Measured Pace: Toward a Philosophical Understanding of the Arts of Dance. Toronto: University of Toronto Press. —(2004), “The Philosophy of Dance: Bodies in Motion, Bodies at Rest,” in The Blackwell Guide to Aesthetics , ed. P. Kivy. Malden: Blackwell, pp. 276–90. Van Camp, J. (1982), “Philosophical Problems of Dance Criticism,” Ph.D. dissertation, Temple University. Ann Arbor, MI: University Microfi lms International.
Chapter 12
Abell, C. (2005a), “Against Depictive Conventionalism.” American Philosophical Quarterly , 42 (3), pp. 185–97. —(2005b), “On Outlining the Shape of Depiction.” Ratio , 18 (1), pp. 27–38.
philosophy.ribeiro.continuumbooks.com © Anna Christina Ribeiro (eds) (2012) The Continuum Companion to Aesthetics London: Continuum Books Bibliography
—(2005c), “Pictorial Implicature.” Journal of Aesthetics and Art Criticism , 63 (1), pp. 55–66. —(2007), “Pictorial Realism.” Australasian Journal of Philosophy , 85 (1), pp. 1–17. —(2009), “Canny Resemblance.” Philosophical Review , 188 (2), pp. 183–224. Alberti, L. B. (1435/1991), On Painting , trans. C. Grayson. New York: Penguin. Bantinaki, K. (2008), “The Opticality of Pictorial Representation.” Journal of Aesthetics and Art Criticism , 66 (2), pp. 183–92. Baxandall, M. (1988), Painting and Experience in Fifteenth Century Italy, 2nd edn. Oxford: Oxford University Press. Budd, M. (1993), “How Pictures Look,” in Virtue and Taste: Essays in Memory of Flint Schier , ed. D. Knowles and J. Skorupski. Oxford: Blackwell, pp. 154–75. Chasid, A. (2007), “Content-Free Pictorial Realism.” Philosophical Studies , 135 (3), pp. 375–405. Gombrich, E. (1961), Art and Illusion , 2nd edn. Princeton: Princeton University Press. Goodman, N. (1976), Languages of Art , 2nd edn. Indianapolis: Hackett. —(1978), Ways of Worldmaking . Indianapolis: Hackett. —(1984), Mind and Other Matters . Cambridge: Harvard University Press. Haugeland, J. (1981), “Analog and Analog.” Philosophical Topics, 12 (1), pp. 213–26. —(1991), “Representational Genera,” in Philosophy and Connectionist Theory , ed. W. Ramsey, S. Stich, and D. Rumelhart. Hillsdale: Lawrence Erlbaum. Hopkins, R. (1995), “Explaining Depiction.” Philosophical Review , 104 (3), pp. 425–55. —(1997), “Pictures and Beauty.” Proceedings of the Aristotelian Society , Supp. Vol. 97, pp. 177–94. —(1998), Picture, Image, and Experience . Cambridge: Cambridge University Press. —(2003a), “Perspective, Convention, and Compromise,” in Looking into Pictures: An Interdisciplinary Approach to Pictorial Space , ed. H. Hecht, R. Schwartz, and M. Atherton. Cambridge: MIT Press, pp. 145–66. —(2003b), “Pictures, Phenomenology, and Cognitive Science.” The Monist , 86 (4), pp. 653–75. —(2003c), “What Makes Representational Painting Truly Visual?” Proceedings of the Aristotelian Society , Supp. Vol. 77 (1), pp. 149–67. Hyman, J. (2004), “Realism and Relativism in the Theory of Art.” Proceedings of the Aristotelian Society , 105 (1), pp. 25–53. —(2006), The Objective Eye . Chicago: University of Chicago Press. Kulvicki, J. (2006a), On Images: Their Structure and Content. Oxford: Clarendon Press. —(2006b), “Pictorial Realism as Verity.” Journal of Aesthetics and Art Criticism , 64 (3), pp. 343–54. —(2006c), “Pictorial Representation.” Philosophy Compass , 1 (6), pp. 535–46. —(2010), “Pictorial Diversity,” in Philosophical Perspectives on Depiction , ed. C. Abell and K. Bantinaki. Oxford: Oxford University Press. Levinson, J. (1998), “Wollheim on Pictorial Representation.” Journal of Aesthetics and Art Criticism , 56 (3), pp. 227–33.
philosophy.ribeiro.continuumbooks.com © Anna Christina Ribeiro (eds) (2012) The Continuum Companion to Aesthetics London: Continuum Books Bibliography
Lewis, D. K. (1971), “Analog and Digital.” Noûs , 5 (3), pp. 321–7. Lopes, D. M. (1995), “Pictorial Realism.” Journal of Aesthetics and Art Criticism , 53 (3), pp. 277–85. —(1996), Understanding Pictures . Oxford: Clarendon Press. —(2003a), “Pictures and the Representational Mind.” The Monist , 86 (4), pp. 632–52. —(2003b), “The Aesthetics of Photographic Transparency.” Mind , 112 (447), pp. 433–48. —(2005), Sight and Sensibility: Evaluating Pictures . Oxford: Oxford University Press. —(2009), “Drawing in a Social Science: Lithic Illustration.” Perspectives on Science , 17 (1), pp. 5–25. Nochlin, L. (1972), Realism . Harmondsworth: Penguin. Peacocke, C. (1987), “Depiction.” Philosophical Review , 96 (3), pp. 383–410. Plato (1992), The Republic, trans. G. M. A. Grube, rev. C. D. C. Reeve. Indianapolis: Hackett. Podro, M. (1998), Depiction . New Haven: Yale University Press. Schier, F. (1986), Deeper into Pictures . Cambridge: Cambridge University Press. Voltolini, A. (forthcoming), “Gesturing toward a Syncretist Theory of Depiction,” in The Crooked Oar: Illusions of Outer and Inner Perception , ed. C. Calabi and K. Mulligan. Cambridge, MA: MIT Press. Walton, K. (1973), “Pictures and Make-Believe.” The Philosophical Review, 82 (3), pp. 283–319. —(1984), “Transparent Pictures.” Critical Inquiry , 11, pp. 246–77. —(1990), Mimesis as Make-Believe . Cambridge: Harvard University Press. —(2002), “Depiction, Perception, and Imagination.” Journal of Aesthetics and Art Criticism , 60 (1), pp. 27–35. Wollheim, R. (1974), On Art and the Mind . Cambridge: Harvard University Press. —(1980), Art and Its Objects , 2nd edn. Cambridge: Cambridge University Press. —(1987), Painting as an Art . Princeton: Princeton University Press. —(1993), The Mind and Its Depths . Cambridge, MA: Harvard University Press. —(1998), “On Pictorial Representation.” Journal of Aesthetics and Art Criticism , 56 (3), pp. 217–26. —(2003a), “In Defense of Seeing-In,” in Looking into Pictures: An Interdisciplinary Approach to Pictorial Space , ed. H. Hecht, R. Schwartz, and M. Atherton. Cambridge: MIT Press, pp. 3–16. —(2003b), “What Makes Representational Painting Truly Visual?” Proceedings of the Aristotelian Society , Supp. Vol. 77 (1), pp. 131–47.
Chapter 13
Allen, R. (2003), Identifi cation in Cinema: A Conceptual Investigation. Unpublished manuscript . —(2009), “Psychoanalysis,” in The Routledge Companion to Philosophy and Film , ed. Paisley Livingston and Carl Plantinga. Oxon and New York: Routledge.
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Allen, R. and Smith, M. (1997), “Introduction: Film Theory and Philosophy,” in Film Theory and Philosophy , ed. Richard Allen and Murray Smith. Oxford: Clarendon Press. Batson, C. D. (2009), “These Things Called Empathy: Eight Related but Distinct Phenomena,” in Social Neuroscience of Empathy, ed. Jean Decety and William Ickes. Cambridge, MA: MIT press . Batson, C. D., Fultz, J., and Schoenrade, P. A. (1987), “Distress and Empathy: Two Qualitatively Distinct Vicarious Emotions with Different Motivational Consequences.” Journal of Personality , 55 (1), pp. 19–39. Batson, C. D., O’Quin, K., Fultz, J., Vanderplas, M., and Isen, A. M. (1983), “Infl uence of Self-Reported Distress and Empathy on Egoistic versus Altruistic Motivation to Help.” Journal of Personality and Social Psychology , 45 (3), p. 706. Battaly, H. (2011), “Is Empathy a Virtue?” in Empathy: Philosophical and Psychological Perspectives , ed. Amy Coplan and Peter Goldie. Oxford University Press. Bazin, A. (1967), What Is Cinema? Volume 1 , trans. Hugh Gray. Berkeley and Los Angeles: University of California Press. —(1971), What Is Cinema? Volume 2 , trans. Hugh Gray. Berkeley and Los Angeles: University of California Press. Bergstrom, J. (ed.) (1999), Endless Night: Cinema and Psychoanalysis: Parallel Histories. Berkeley and Los Angeles: University of California Press. Bordwell, D. (1985), Narration in the Fiction Film. Madison, WI: University of Wisconsin Press. —(1993), The Cinema of Eisenstein. New York: Routledge, 2005. —(1996), “Contemporary Film Studies and the Vicissitudes of Grand Theory,” in Post-Theory: Reconstructing Film Studies, ed. David Bordwell and Noël Carroll. Madison, WI: University of Wisconsin Press. —(2009a), “Cognitive theory,” in The Routledge Companion to Philosophy and Film , ed. Paisley Livingston and Carl Plantinga. Oxon and New York: Routledge. —(2009b), “Observations on Film Art: Invasion of the Braniacs II.” www.david- bordwell.net/blog/2009/06/10/invasion-of-the-brainiacs-ii/ Bordwell, D. and Carroll, N. (1996a), “Introduction,” in Post-Theory: Reconstructing Film Studies, ed. David Bordwell and Noël Carroll. Madison, WI: University of Wisconsin Press. —(eds) (1996b), Post-Theory: Reconstructing Film Studies. Madison, WI: University of Wisconsin Press. Bråten, S. (ed.) (2007), On Being Moved: From Mirror Neurons to Empathy. Amsterdam: John Benjamins. Buckland, W. (2007), The Cognitive Semiotics of Film. Cambridge: Cambridge University Press. Carroll, N. (1985), “The Power of Movies.” Daedalus , 114 (4), pp. 79–103. —(1992), “Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland.” Journal of Dramatic Theory and Criticism , 6 (2), pp. 199–219. —(1996a), “Prospects for Film Theory: A Personal Assessment,” in Post-Theory: Reconstructing Film Studies, ed. David Bordwell and Noël Carroll. Madison, WI: University of Wisconsin Press.
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—(1996b), Theorizing the Moving Image. Cambridge: Cambridge University Press. —(1998), A Philosophy of Mass Art. Oxford: Clarendon Press. —(2001), “Beyond Aesthetics: Philosophical Essays,” in Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge University Press. —(2003), “Art and Mood: Preliminary Notes and Conjectures.” The Monist , 86 (4), pp. 521–56. —(2006), “Engaging Critics.” Film Studies , 8, pp. 161–9. —(2007), “On the Ties That Bind: Characters, the Emotions, and Popular Fictions,” in Philosophy and the Interpretation of Pop Culture, ed. William Irwin and Jorge J. E. Gracia. Lanham, MD: Rowman and Littlefi eld. —(2008), The Philosophy of Motion Pictures. Malden, MA: Blackwell. Choi, J. (2003), “Fits and Startles: Cognitivism Revisited.” Journal of Aesthetics and Art Criticism , 61 (2), pp. 149–57. Cook, D. A. (1996), A History of Narrative Film, 3rd edn. W.W. Norton & Company. Coplan, A. (2004), “Empathic Engagement with Narrative Fictions.” Journal of Aesthetics and Art Criticism , 62 (2), pp. 141–52. —(2006), “Catching Characters’ Emotions: Emotional Contagion Responses to Narrative Fiction Film.” Film Studies , 8, pp. 26–38. —(2009), “Empathy and Character Engagement,” in The Routledge Companion to Philosophy and Film , ed. Paisley Livingston and Carl Plantinga. London and New York: Routledge. —(2011a), “Understanding Empathy: Its Features and Effects,” in Empathy: Philosophical and Psychological Perspectives, ed. Amy Coplan and Peter Goldie. Oxford: Oxford University Press. —(2011b), “Will the Real Empathy Please Stand Up? A Case for a Narrow Conceptualization.” Southern Journal of Philosophy , 49, pp. 40–65. Coplan, A. and Goldie, P. (2011), “Introduction,” in Empathy: Philosophical and Psychological Perspectives, ed. Amy Coplan and Peter Goldie. Oxford: Oxford University Press. Creed, B. (1993), The Monstrous-Feminine: Film, Feminism, and Pychoanalysis. London: Routledge London. —(1998), “Film and Psychoanalysis,” in The Oxford Guide to Film Studies, ed. John Hill and Pamela Church Gibson. New York and Oxford: Oxford University Press. Curran, A. and Donelan, C. (2009), “Gender,” in The Routledge Companion to Philosophy and Film, ed. Carl Livingston and Carl Plantinga. Oxon and New York: Routledge. Currie, G. (1995), Image and Mind: Film, Philosophy and Cognitive Science. Cambridge: Cambridge University Press. —(2004), Arts and Minds. New York: Oxford University Press. Davies, S. (2011), “Infectious Music: Music-Listener Emotional Contagion,” in Empathy: Philosophical and Psychological Perspectives , ed. Amy Coplan and Peter Goldie. Oxford: Oxford University Press. Devereaux, M. (1990), “Oppressive Texts, Resisting Readers and the Gendered Spectator: The New Aesthetics.” Journal of Aesthetics and Art Criticism , 48 (4), pp. 337–47.
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Diawara, M. (1988), “Black Spectatorship: Problems of Identifi cation and Resistance.” Screen , 29 (4), pp. 66–79. —(ed.) (1993), Black American Cinema. New York: Routledge. Dyer, R. (1997), White: Essays on Race and Culture. London: Routledge. Eisenberg, N. (2000), “Empathy and Sympathy,” in Handbook of Emotions , 2nd edn, ed. Michael Lewis and Jeanette M. Haviland-Jones. New York: Guilford Press. Eisenberg, N. and Eggum, N. D. (2009), “Empathic Responding: Sympathy and Personal Distress,” in The Social Neuroscience of Empathy, ed. Jean Decety and William Ickes. Cambridge, MA: MIT Press. Eisenberg, N. and Strayer, J. (1987), “Critical Issues in the Study of Empathy,” in Empathy and Its Development, ed. Nancy Eisenberg and Janet Strayer. New York: Cambridge University Press. Eisenberg, N., Schaller, M., Fabes, R. A., Bustamante, D., Mathy, R. M., Shell, R., and Rhodes, K. (1988), “Differentiation of Personal Distress and Sympathy in Children and Adults.” Developmental Psychology , 24 (6), pp. 766–75. Eisenberg, N., Fabes, R. A., Miller, P. A., Fultz, J., Shell, R., Mathy, R. M., and Reno, R. R. (1989), “Relation of Sympathy and Personal Distress to Prosocial Behavior: A Multimethod Study.” Journal of Personality and Social Psychology , 57 (1), pp. 55–66. Eisenstein, S. (1942), The Film Sense, trans. Jay Leyda. New York: Harcourt Brace & Company. —(1949), Film Form: Essays in Film Theory, trans. Jay Leyda. Orlando, FL: Harcourt. Erens, P. (ed.) (1991), Issues in Feminist Film Criticism. Bloomington, IN: Indiana University Press. Feagin, S. L. (1996), Reading with Feeling: The Aesthetics of Appreciation. Ithaca, NY: Cornell University Press. Flory, D. (2008), Philosophy, Black Film, Film Noir. University Park, PA: Pennsylvania State University Press. Friedberg, A. (1990), “A Denial of Difference: Theories of Cinematic Identifi cation,” in Psychoanalysis and the Cinema , ed. E. Ann Kaplan. New York: Routledge. Gaut, B. (1997), “Film Authorship and Collaboration,” in Film Theory and Philosophy. Oxford: Clarendon Press. —(1999), “Identifi cation and Emotion in Narrative Film,” in Passionate Views: Film, Cognition, and Emotion , ed. Carl Plantinga and Greg M. Smith. Baltimore, MD: Johns Hopkins University Press. —(2003), “Film,” in Oxford Handbook of Aesthetics, ed. Jerrold Levinson. Oxford: Oxford University Press. —(2010), A Philosophy of Cinematic Art. Cambridge: Cambridge University Press. Goldman, A. I. (2005), “Imitation, Mind Reading, and Simulation.” Perspectives on Imitation: From Neuroscience to Social Science , 2, pp. 79–93. —(2006), Simulating Minds: The Philosophy, Psychology, and Neuroscience of Mindreading. Oxford: Oxford University Press.
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—(2011), “Two Routes to Empathy: Insights from Cognitive Neuroscience,” in Empathy: Philosophical and Psychological Perspectives , ed. Amy Coplan and Peter Goldie. Oxford: Oxford University Press. Grau, C. (2005), Philosophers Explore the Matrix. Oxford: Oxford University Press. Haskell, M. (1974), From Reverence to Rape: The Treatment of Women in the Movies. New York: Holt, Rinehart, and Winston. Iacoboni, M. (2008), Mirroring People: The New Science of How We Connect with Others. New York: Farrar Straus & Giroux. Irwin, W. (ed.) (2002), The Matrix and Philosophy: Welcome to the Desert of the Real. Peru, IL: Open Court. —(2005), More Matrix and Philosophy: Revolutions and Reloaded Decoded. Peru, IL: Open Court. Kaplan, E. A. (ed.) (1990), Psychoanalysis and the Cinema. New York and London: Routledge. — (1997), Looking for the Other: Feminism, Film, and the Imperial Gaze. New York: Routledge. — (ed.) (2000), Feminism and Film. Oxford: Oxford University Press. Livingston, P. (1997), “Cinematic Authorship,” in Film Theory and Philosophy , ed. Richard Allen and Murray Smith. Oxford: Clarendon Press. —(2008), “Recent Work on Cinema as Philosophy.” Philosophy Compass, 3 (4), pp. 590–603. —(2009), Cinema, Philosophy, Bergman. Oxford: Oxford University Press. Livingston, P. and Plantinga, C. (eds) (2009), The Routledge Companion to Philosophy and Film. Oxon and New York: Routledge. Meskin, A. (2009), “Authorship,” in The Routledge Companion to Philosophy and Film, ed. Paisley Livingston and Carl Plantinga. Oxon and New York: Routledge. Mulhall, S. (2001), On Film , 2nd edn. New York: Routledge. Mulvey, L. (1975), “Visual Pleasure and Narrative Cinema.” Screen , 16 (3), pp. 6–18. Münsterberg, H. (1916), The Photoplay: A Psychological Study. New York and London: D. Appleton and Company. Neill, A. (1996), “Empathy and (Film) Fiction,” in Post-Theory: Reconstructing Film Studies, ed. David Bordwell and Noël Carroll. Madison, WI: University of Wisconsin Press. Pineda, J. A. (ed.) (2009), Mirror Neuron Systems: The Role of Mirroring Processes in Social Cognition. New York: Humana Press. Plantinga, C. (1999), “The Scene of Empathy and the Human Face on Film,” in Passionate Views: Film, Cognition, and Emotion, ed. Carl Plantinga and Greg Smith. Baltimore, MD: Johns Hopkins University Press. —(2006), “Disgusted at the Movies.” Film Studies , 8, pp. 81–92. —(2009a), “Emotion and Affect,” in The Routledge Companion to Philosophy and Film, ed. Paisley Livingston and Carl Plantinga. Oxon and New York: Routledge. —(2009b), Moving Viewers: American Film and the Spectator’s Experience. Berkeley and Los Angeles: University of California Press.
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Plantinga, C. and Smith, G. M. (1999), “Introduction,” in Passionate Views: Film, Cognition, and Emotion, ed. Carl Plantinga and Greg M. Smith. Baltimore, MD: Johns Hopkins University Press. Prinz, J. J. (2004), Gut Reactions: A Perceptual Theory of Emotion. New York and Oxford: Oxford University Press. —(2007), The Emotional Construction of Morals. New York and Oxford: Oxford University Press. Rizzolatti, G. and Sinigaglia, C. (2008), Mirrors in the Brain: How Our Minds Share Actions and Emotions , trans. Frances Anderson. New York and Oxford: Oxford University Press. Robinson, J. (1995), “Startle.” The Journal of Philosophy , 92 (2), pp. 53–74. —(2005), Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art. New York and Oxford: Oxford University Press. Russell, B. (2000), “The Philosophical Limits of Film.” Film and Philosophy , Special Edition, pp. 163–7. — (2006), “Philosophical Limits of Film,” in Philosophy of Film and Motion Pictures, ed. Noel Carroll and Jinhee Choi. Malden, MA: Blackwell. Ryan, M. and Ryan, D. (1988), “Camera Politica: The Politics and Ideology of Contemporary Hollywood Film,” in Camera Politica: The Politics and Ideology of Contemporary Hollywood Film. Bloomington, IN: Indiana University Press. Sarris, A. (2005), “Auteur Theory and Film Evaluation,” in The Philosophy of Film: Introductory Text and Readings, ed. Thomas Wartenberg and Angela Curran. Malden, MA: Wiley-Blackwell. Scruton, R. (1983), “Photography and Representation,” in The Aesthetic Understanding: Essays in the Philosophy of Art and Culture. London and New York: Methuen. Singer, T. and Lamm, C. (2009), “The Social Neuroscience of Empathy.” Annals of the New York Academy of Sciences , 1156, pp. 81–96. Smith, M. (1995), “Engaging Characters: Fiction, Emotion, and the Cinema,” in Engaging Characters: Fiction, Emotion and the Cinema. Oxford: Clarendon Press. —(2001), “Film,” in The Routledge Companion to Aesthetics , ed. Berys Gaut and Dominic Lopes. London: Routledge. —(2006), “Film Art, Argument, and Ambiguity.” The Journal of Aesthetics and Art Criticism , 64 (1), pp. 33–42. Smith, M. and Wartenberg, T. (eds) (2006), Thinking Through Cinema: Film as Philosophy. Malden, MA: Blackwell; American Society for Aesthetics. Stamenov, M. and Gallese, V. (2002), Mirror Neurons and the Evolution of Brain and Language , ed. M. Stamenov and V. Gallese. Amsterdam: John Benjamins. Stecker, R. (2009), “Film as Art,” in The Routledge Companion to Philosophy and Film , ed. Paisley Livingston and Carl Plantinga. Oxon and New York: Routledge. Tan, E. S. (1996), Emotion and the Structure of Narrative Film: Film as an Emotion Machine, trans. Barbara Fasting. Mahwah, NJ: Lawrence Erlbaum Associates. Thomson-Jones, K. (2008), Aesthetics and Film. New York: Continuum. Toi, M. and Batson, C. D. (1982), “More Evidence That Empathy Is a Source of Altruistic Motivation.” Journal of Personality and Social Psychology , 43 (2), pp. 281–92.
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Chapter 14
Addis, B. (2007), Building: 3000 Years of Design, Engineering, and Construction. London: Phaidon Press. Alexander, C. (1964), Notes on the Synthesis of Form . Cambridge: Harvard University Press. Carlson, A. (1994), “Existence, Location, and Function: The Appreciation of Architecture,” in Philosophy and Architecture , ed. M. H. Mitias. Amsterdam: Rodopi, pp. 141–64. —(2005), “Environmental Aesthetics,” in The Routledge Companion to Aesthetics , 2nd edn, ed. B. Gaut and D. M. Lopes. London: Routledge. Curtis, W. C. (1987), Modern Architecture since 1900 , 2nd edn. Englewood Cliffs: Prentice Hall. De Clercq, R. (2004), “The Legitimacy of Modern Architecture.” Philosophical Forum , 35 (2), pp. 135–46. —(2008), “Lopes on the Ontology of Japanese Shrines.” Journal of Aesthetics and Art Criticism , 66 (2), pp. 193–4. Edwards, T. A. (1946), Good and Bad Manners in Architecture: An Essay on the Social Aspects of Civic Design, 2nd edn. London: John Tiranti. Giedion, S. (1967), Space, Time and Architecture: The Growth of a New Tradition , 5th edn. Cambridge: Harvard University Press. Graham, G. (2005), “Architecture,” in The Oxford Handbook of Aesthetics , ed. J. Levinson. Oxford: Oxford University Press. Haldane, J. (1998), “Architecture, Aesthetics of,” in Routledge Encyclopaedia of Philosophy , Vol. I, ed. E. Craig. London: Routledge, pp. 361–6. Krier, L. (2007), Architecture: Choice or Fate . London: Papadakis. Lopes, D. M. (2007), “Shikinen Sengu and the Ontology of Architecture in Japan.” Journal of Aesthetics and Art Criticism , 65 (1), pp. 77–84. —(2008), “Reference, Ontology, and Architecture: Response to Rafael De Clercq.” Journal of Aesthetics and Art Criticism , 66 (2), pp. 194–6. Matravers, D. (1999), “Revising Principles of Architecture.” Journal of Architecture , 4 (1), pp. 39–45. Mitrovic, B. (1998), “Paduan Aristotelianism and Daniele Barbaro’s Commentary on Vitruvius’ De Architectura. ” Sixteenth Century Journal , 29 (3), pp. 667–88. —(1999), “Palladio’s Theory of the Classical Orders in the First Book of I Quattro Libri Dell’ Architettura .” Architectural History , 42, pp. 110–40. Novitz, D. (1994), “Architectural Brilliance and the Constraints of Time,” in Philosophy and Architecture, ed. M. H. Mitias. Amsterdam: Rodopi, pp. 67–85.
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Papalambros, P. Y. and Wilde, D. J. (2000), Principles of Optimal Design: Modeling and Computation , 2nd edn. Cambridge: Cambridge University Press. Scruton, R. (1979), The Aesthetics of Architecture . Princeton: Princeton University Press. —(1994), The Classical Vernacular: Architectural Principles in an Age of Nihilism. New York: St. Martin’s Press. —(2000), “After Modernism.” City Journal , 10 (2), www.city-journal.org/ html/10_2_urbanities-after_modernis.html Suppes, P. (1991), “Rules of Proportion in Architecture.” Midwest Studies in Philosophy , 16 (1), pp. 352–58. Watkin, D. (2001), Morality and Architecture Revisited . London: John Murray. Wicks, R. (1994), “Architectural Restoration: Resurrection or Replication?” British Journal of Aesthetics , 34 (2), pp. 163–9. Wiggins, D. (1998), Needs, Values, Truth , 3rd edn. Oxford: Clarendon Press. Winters, E. (2005), “Architecture,” in The Routledge Companion to Aesthetics , 2nd edn, ed. B. Gaut and D. M. Lopes. London: Routledge. —(2007), Aesthetics and Architecture . London: Continuum.
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Bordwell, D. and Thompson, K. (1997), Film Art . New York: McGraw-Hill. Bourdieu, P. (1984), Distinction: A Social Critique of the Judgment of Taste . Boston: Harvard University Press. Carroll, N. (1998), A Philosophy of Mass Art. New York: Oxford University Press. Cavell, S. (1981), Pursuits of Happiness: The Hollywood Comedy of Remarriage. Boston: Harvard University Press. Cohen, T. (1999), “High Art and Low Art, and High and Low Audiences.” Journal of Aesthetics and Art Criticism , 57 (2), pp. 137–43. Greenberg, C. (1986), “Avant-garde and Kitsch,” in Clement Greenberg: The Collected Essays and Criticism, Vol. I, ed. J. O’Brien. Chicago: University of Chicago Press, ch. 2, pp. 5–22. Kivy, P. (1990), Music Alone: Philosophical Refl ections on the Purely Musical Experience. Ithaca: Cornell University Press. —(2003), “Another Go at Musical Profundity: Stephen Davies and the Game of Chess.” British Journal of Aesthetics , 43 (4), pp. 401–11. Levine, L. (1988), Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Boston: Harvard University Press. McDonald, D. (1957), “A Theory of Mass Culture,” in Mass Culture: The Popular Arts in America , ed. B. Rosenberg and D. M. White. New York: Free Press. Novitz, D. (1992), The Boundaries of Art . Philadelphia: Temple University Press. Smuts, A. (2005), “Are Video Games Art?” Contemporary Aesthetics, 3, www. contempaesthetics.org/newvolume/pages/article.php?articleID=299 —(2011), “‘Rubber Ring’: Why Do We Listen to Sad Songs,” in Narrative, Emotion, and Insight, ed. J. Gibson and N. Carroll. University Park: Pennsylvania State University Press, ch. 7, pp. 131–53.
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Chapter 16
Andrews, M. (2007), “The View from the Road and the Picturesque,” in The Aesthetics of Human Environments , ed. A. Berleant and A. Carlson. Peterborough: Broadview Press, pp. 272–89. Aretoulakis, E. (2008), “Aesthetic Appreciation, Ethics, and 9/11.” Contemporary Aesthetics , 6, www.contempaesthetics.org/newvolume/pages/article. php?articleID=510 Berleant, A. (1964), “The Sensuous and the Sensual in Aesthetics.” Journal of Aesthetics and Art Criticism , 23 (2), pp. 185–92. —(1986), “Cultivating an Urban Aesthetic.” Diogenes , 136, pp. 1–18. —(1992), The Aesthetics of Environment. Philadelphia: Temple University Press. —(1997), “The Critical Aesthetics of Disney World.” Journal of Applied Philosophy , 11, pp. 171–80. —(1998), “Environmental Aesthetics,” in Encyclopedia of Aesthetics, Vol. 2, ed. M. Kelly. New York: Oxford University Press, pp. 114–20. —(ed.) (2002), Environment and the Arts: Perspectives on Environmental Aesthetics. Aldershot: Ashgate. —(2005), “Ideas for a Social Aesthetic,” in The Aesthetics of Everyday Life , ed. A. Light and J. M. Smith. New York: Columbia University Press, pp. 23–38. Berleant, A. and Carlson A. (1998), “Introduction.” Journal of Aesthetics and Art Criticism, 56 (2), pp. 97–100. —(2007), The Aesthetics of Human Environments . Peterborough: Broadview Press. Boone, J. (2005), “The Aesthetic Dissonance of Industrial Wind Machines.” Contemporary Aesthetics, 3, www.contempaesthetics.org/newvolume/pages/ article.php?articleID=319 Brady, E. (2003), Aesthetics of the Natural Environment . Edinburgh: Edinburgh University Press. —(2005), “Sniffi ng and Savoring: The Aesthetics of Smells and Tastes,” in The Aesthetics of Everyday Life , ed. A. Light and J. M. Smith. New York: Columbia University Press, pp. 177–93. —(2007), “Aesthetic Regard for Nature in Environmental and Land Art.” Ethics, Policy & Environment , 10 (3), pp. 287–300. Brand, P. Z. (ed.) (2000), Beauty Matters. Bloomington: Indiana University Press. Brook, I. (2007), “Aesthetic Interventions of Unauthorised Environmental Interventions.” Ethics, Policy & Environment , 10 (3), pp. 307–18. Brottman, M. (2005), “The Last Stop of Desire: The Aesthetics of the Shopping Center,” in The Aesthetics of Human Environments, ed. A. Berleant and A. Carlson. Peterborough: Broadview Press. Callicot, J. B. (2003), “Wetland Gloom and Wetland Glory.” Philosophy and Geography , 6 (1), pp. 33–45. Carlson, A. (1976), “Environmental Aesthetics and the Dilemma of Aesthetic Education.” Journal of Aesthetic Education , 10 (2), pp. 69–82 (reprinted in Carlson, 2000).
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—(1979a), “Appreciation and the Natural Environment.” Journal of Aesthetics and Art Criticism , 37 (3), pp. 267–76 (reprinted in Carlson and Berleant, 2004). —(1979b), “Formal Qualities and the Natural Environment.” Journal of Aesthetic Education , 13 (3), pp. 99–114. —(1984), “Nature and Positive Aesthetics.” Environmental Ethics , 6 (1), pp. 5–34 (reprinted in Carlson, 2000). —(1985), “Appreciating Agricultural Landscapes.” Journal of Aesthetics and Art Criticism , 43 (3), pp. 301–12 (reprinted in Carlson, 2000). —(1986), “Is Environmental Art an Aesthetic Affront to Nature?” Canadian Journal of Philosophy , 16 (4), pp. 635–50 (reprinted in Carlson, 2000). —(1992), “Environmental Aesthetics,” in A Companion to Aesthetics , ed. D. Cooper. Oxford: Basil Blackwell, pp. 142–4. —(1997), “The Aesthetic Appreciation of Japanese Gardens.” British Journal of Aesthetics , 37 (1), pp. 47–56 (reprinted in Carlson, 2000). —(2000), Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture. London: Routledge. —(2001), “On Aesthetically Appreciating Human Environments.” Philosophy and Geography , 4 (1), pp. 9–24. —(2007), “Environmental Aesthetics,” in The Stanford Encyclopedia of Philosophy , ed. E. Zalta (Fall 2007 edn), http://plato.stanford.edu/entries/environmental- aesthetics/ Carlson, A. and Berleant, A. (2004), The Aesthetics of Natural Environments . Peterborough: Broadview Press. Carroll, N. (1993), “On Being Moved by Nature: Between Religion and Natural History,” in Landscape, Natural Beauty and the Arts , ed. S. Kemal and I. Gaskel. Cambridge: Cambridge University Press, pp. 244–66. —(2001), “Emotion, Appreciation, and Nature,” in Beyond Aesthetics: Philosophical Essays. New York: Cambridge University Press, pp. 384–94. Chytry, J. (1989), The Aesthetic State: A Quest in Modern German Thought . Berkeley: University of California Press. Cooper, D. (2006), A Philosophy of Gardens . Oxford: Clarendon Press. Crawford, D. (2004), “Scenery and the Aesthetics of Nature,” in The Aesthetics of Natural Environments, ed. A. Carlson and A. Berleant. Peterborough: Broadview Press, pp. 253–68. Danto, A. (1981), The Transfi guration of the Commonplace: A Philosophy of Art. Cambridge: Harvard University Press. Davies, S. (2006), “Aesthetic Judgements, Artworks and Functional Beauty.” Philosophical Quarterly , 56 (223), pp. 224–41. Dickie, G. (1984), The Art Circle . New York: Haven. Eaton, M. M. (1998), “Fact and Fiction in the Aesthetic Appreciation of Nature.” Journal of Aesthetics and Art Criticism , 56 (2), pp. 149–56 (reprinted in Carlson and Berleant, 2005). Godlovitch, S. (1994), “Icebreakers: Environmentalism and Natural Aesthetics.” Journal of Applied Philosophy, 11 (1), pp. 15–30 (reprinted in Carlson and Berleant, 2004). Gould, C. (2005), “Glamour as an Aesthetic Property of Persons.” Journal of Aesthetics and Art Criticism , 63 (3), pp. 237–47.
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Graham, G. (2003), “Architecture,” in Oxford Handbook of Aesthetics , ed. J. Levinson. Oxford: Oxford University Press, pp. 555–71. Haapala, A. (2005), “On the Aesthetics of the Everyday: Familiarity, Strangeness, and the Meaning of Place,” in The Aesthetics of Everyday Life , ed. A. Light and J. M. Smith. New York: Columbia University Press, pp. 39–55. Hargrove, E. (1989), Foundations of Environmental Ethics. Englewood Cliffs: Prentice Hall. Hepburn, R. (1966), “Contemporary Aesthetics and the Neglect of Natural Beauty,” in British Analytical Philosophy , ed. B. Williams and A. Montefi ore. London: Routledge and Kegan Paul, pp. 285–310. —(1988), “The Concept of the Sublime: Has It Any Relevance for Philosophy Today?” Dialectics and Humanism , 15 (1–2), pp. 137–55. Hettinger, N. (2005), “Allen Carlson’s Environmental Aesthetics and Protection of the Environment.” Environmental Ethics , 27 (1), pp. 57–76. —(2008), “Objectivity in Environmental Aesthetics and Protection of the Environment,” in Nature, Aesthetics, and Environmentalism: From Beauty to Duty, ed. A. Carlson and S. Lintott. New York: Columbia University Press, pp. 413–37. Heyd, T. (2002), “Nature Restoration without Dissimulation: Learning from Japanese Gardens and Earthworks.” Essays in Philosophy , 3 (1), pp. 1–13, http://commons.pacifi cu.edu/eip/vol3/iss1/12/ Higgins, K. (2003), “Comparative Aesthetics,” in Oxford Handbook of Aesthetics , ed. J. Levinson. Oxford: Oxford University Press, pp. 679–92. Irvin, S. (2008a), “The Pervasiveness of the Aesthetic in Ordinary Experience.” British Journal of Aesthetics , 48 (1), pp. 486–500. —(2008b), “Scratching an Itch.” Journal of Aesthetics and Art Criticism, 66 (1), pp. 25–35. Korsmeyer, C. (1999), Making Sense of Taste: Food and Philosophy. Ithaca: Cornell University Press. Kristeller, P. O. (1998), “Origins of Aesthetics: Historical and Conceptual Overview,” in The Encyclopedia of Aesthetics, Vol. 3, ed. M. Kelly. New York: Oxford University Press, pp. 416–28. Kuehn, G. (2005), “How Can Food Be Art?” in The Aesthetics of Everyday Life , ed. A. Light and J. M. Smith. New York: Columbia University Press, pp. 194–212. Leddy, T. (1988), “Gardens in an Expanded Field.” British Journal of Aesthetics , 28 (4), pp. 327–40. —(1995), “Everyday Surface Qualities: ‘Neat,’ ‘Messy,’ ‘Clean,’ ‘Dirty’.” Journal of Aesthetics and Art Criticism , 53 (3), pp. 259–68 (reprinted in Berleant and Carlson, 2007). —(1997), “Sparkle and Shine.” British Journal of Aesthetics , 37 (3), pp. 259–73. —(2005), “The Nature of Everyday Aesthetics,” in The Aesthetics of Everyday Life , ed. A. Light and J. M. Smith. New York: Columbia University Press, pp. 3–22. —(2008), “The Aesthetics of Junkyards and Roadside Clutter.” Contemporary Aesthetics , 6, www.contempaesthetics.org/newvolume/pages/article. php?articleID=511
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Light, A. (2001), “The Urban Blind Spot in Environmental Ethics.” Environmental Politics , 10 (1), pp. 7–35. Light, A. and Smith, J. M. (eds) (2005), The Aesthetics of Everyday Life. New York: Columbia University Press. Lintott, S. (2007), “Ethically Evaluating Land Art: Is It Worth It?” Ethics, Policy & Environment , 10 (3), pp. 263–77. Loftis, R. J. (2003), “Three Problems for the Aesthetic Foundations of Environmental Ethics.” Philosophy in the Contemporary World , 10 (2), pp. 41–50. Macauley, D. (2000), “Walking the City: An Essay on Peripatetic Practices and Politics.” Capitalism, Nature, Socialism, 11 (4), pp. 3–43 (reprinted in Berleant and Carlson, 2007). Matthews, P. (2002), “Scientifi c Knowledge and the Aesthetic Appreciation of Nature.” Journal of Aesthetics and Art Criticism , 60 (1), pp. 37–48. McCraken, J. (2005), “The Aesthetics of Playtime Recycling,” in The Aesthetics of Human Environments, ed. A. Berleant and A. Carlson. Peterborough: Broadview Press. Melchionne, K. (1998), “Living in Glass Houses: Domesticity, Interior Decoration, and Environmental Aesthetics.” Journal of Aesthetics and Art Criticism, 56 (2), pp. 191–200 (reprinted in Berleant and Carlson, 2007). Miller, M. (1993), The Garden as an Art . Albany: SUNY Press. Montero, B. (2006), “Proprioception as an Aesthetic Sense.” Journal of Aesthetics and Art Criticism , 64 (2), pp. 231–42. Moore, R. (2008), Natural Beauty: A Theory of Aesthetics beyond the Arts. Peterborough: Broadview Press. Mothersill, M. (1992), “The Sublime,” in A Companion to Aesthetics, ed. D. Cooper. Oxford: Blackwell, pp. 407–11. Newman, I. (2001), “Refl ections on Allen Carlson’s Aesthetics and the Environment. ” Æ: Canadian Aesthetics Journal/Revue Canadienne d’Esthetique , 6, www.uqtr.uquebec.ca/AE/Vol_6/Carlson/newman.html Novitz, D. (2001), The Boundaries of Art: A Philosophical Inquiry into the Place of Art in Everyday Life, 2nd edn. Christchurch: Cybereditions. Parsons, G. (2002), “Nature Appreciation, Science, and Positive Aesthetics.” British Journal of Aesthetics , 42 (3), pp. 279–95. —(2007), “The Aesthetics of Nature.” Philosophy Compass , 2, pp. 258–72. —(2008a), Aesthetics and Nature . London: Continuum. —(2008b), “Nature, Aesthetic Values, and Urban Design: Building the Natural City,” in Philosophy and Design: From Engineering to Architecture, ed. P. E. Vermaas, P. Kroes, A. Light, and S. A. Moore. London: Springer, pp. 341–52. Parsons, G. and Carlson, A. (2008), Functional Beauty . Oxford: Oxford University Press. Prall, D. (1929), Aesthetic Judgment . New York: Crowell. Rolston, H. (1998), “The Aesthetic Experience of Forests.” Journal of Aesthetics and Art Criticism , 56 (2), pp. 157–67 (reprinted in Carlson and Berleant, 2004). —(2000), “Aesthetics in the Swamps.” Perspectives in Biology and Medicine , 43 (4), pp. 584–97.
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Ross, S. (1993), “Gardens, Earthworks, and Environmental Art,” in Landscape, Natural Beauty and the Arts , ed. S. Kemal and I. Gaskell. Cambridge: Cambridge University Press, pp. 183–98. —(1998), What Gardens Mean . Chicago and London: Chicago University Press. —(1999), “Gardens’ Powers.” Journal of Aesthetic Education , 33 (3), pp. 4–17. —(2006), “Paradoxes and Puzzles: Appreciating Gardens and Urban Nature.” Contemporary Aesthetics, 4, www.contempaesthetics.org/newvolume/pages/ article.php?articleID=400 Ryynanen, M. (2005), “Learning from Venice.” Contemporary Aesthetics , Special Vol. 1, www.contempaesthetics.org/newvolume/pages/article.php?articleID=349 Saito, Y. (1998a), “The Aesthetics of Unscenic Nature.” Journal of Aesthetics and Art Criticism , 56 (2), pp. 101–11. —(1998b), “Appreciating Nature on Its Own Terms.” Environmental Ethics , 20 (2), pp. 135–49. —(1999), “Japanese Aesthetics of Packaging.” Journal of Aesthetics and Art Criticism , 57 (2), pp. 257–65. —(2004), “Machines in the Ocean: The Aesthetics of Wind Farms.” Contemporary Aesthetics , 2, www.contempaesthetics.org/newvolume/pages/article. php?articleID=247 —(2005), “Response to Jon Boone’s Critique.” Contemporary Aesthetics , 3, www.contempaesthetics.org/newvolume/pages/article.php?articleID=321 —(2007a), Everyday Aesthetics . Oxford: Oxford University Press. —(2007b), “The Moral Dimension of Japanese Aesthetics.” Journal of Aesthetics and Art Criticism , 65 (1), pp. 85–97. Sandrisser, B. (1998), “Cultivating Commonplaces: Sophisticated Vernacularism in Japan.” Journal of Aesthetics and Art Criticism, 56 (2), pp. 201–10 (reprinted in Berleant and Carlson, 2007). Santayana, G. (1896), The Sense of Beauty: Being the Outlines of Aesthetic Theory . New York: Charles Scribner’s Sons. Sartwell, C. (2003), “Aesthetics of the Everyday,” in Oxford Handbook of Aesthetics , ed. J. Levinson. Oxford: Oxford University Press, pp. 761–70. Schauman, S (1998), “The Garden and the Red Barn: The Pervasive Pastoral and Its Environmental Consequences.” Journal of Aesthetics and Art Criticism , 56 (2), pp. 181–90 (reprinted in Berleant and Carlson, 2007). Sepänmaa, Y. (2005), “The Aesthetics of the Road, Road Art, and Road Traffi c.” Contemporary Aesthetics , Special Vol. 1, www.contempaesthetics.org/newvol- ume/pages/article.php?articleID=348 —(2007), “Multisensoriness and the City,” in The Aesthetics of Human Environments, ed. A. Berleant and A. Carlson. Peterborough: Broadview Press, pp. 92–9. Shusterman, R. (2006), “Aesthetic Experience: from Analysis to Eros.” Journal of Aesthetics and Art Criticism , 64 (2), pp. 217–29. Sparshott, F. (1972), “Figuring the Ground: Notes on Some Theoretical Problems of the Aesthetic Environment.” Journal of Aesthetic Education , 6 (3), pp. 11–23. Stecker, R. (1997), “The Correct and the Appropriate in the Appreciation of Nature.” British Journal of Aesthetics , 37 (4), pp. 393–402.
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Thompson, J. (1995), “Aesthetics and the Value of Nature.” Environmental Ethics , 17 (3), pp. 291–305. Von Bonsdorff, P. (2002), “Urban Richness and the Art of Building,” in Environment and the Arts: Perspectives on Environmental Aesthetics , ed. A. Berleant. Aldershot: Ashgate, pp. 89–101 (reprinted in Berleant and Carlson, 2007). —(2005), “Agriculture, Aesthetic Appreciation and the Worlds of Nature.” Contemporary Aesthetics, 3, www.contempaesthetics.org/newvolume/pages/ article.php?articleID=325 Von Bonsdorff, P. and Haapala, A. (eds) (1999), Aesthetics in the Human Environment . Jyväskylä: Gummerus Kirjapaino Oy. Walton, K. (1970), “Categories of Art.” Philosophical Review , 79 (3), pp. 334–67. Welsh, W. (2005), “Sport Viewed Aesthetically, and Even as Art?” in The Aesthetics of Everyday Life , ed. A. Light and J. M. Smith. New York: Columbia University Press, pp. 135–55. Winkler, J. (2005), “The Eye and the Hand: Professional Sensitivity and the Idea of an Aesthetics of Work on the Land.” Contemporary Aesthetics, 3, www.con- tempaesthetics.org/newvolume/pages/article.php?articleID=289 Winters, E. (2007), Aesthetics & Architecture . London: Continuum. Zangwill, N. (2003), “Beauty,” in Oxford Handbook of Aesthetics , ed. J. Levinson. Oxford: Oxford University Press, pp. 325–43.
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Brand, P. (1998), “Disinterestedness and Political Art,” in Aesthetics: The Big Questions , ed. C. Korsmeyer. Malden: Wiley-Blackwell, pp. 155–71. Carroll, N. (2007), “Art and Globalization: Then and Now.” Journal of Aesthetics and Art Criticism , 65 (1), pp. 131–43. Eaton, A. W. (2009), “Feminist Standpoint Aesthetics,” in The Blackwell Companion to Aesthetics , 2nd edn, ed. S. Davies et al. Malden: Blackwell, pp. 272–5. Gandolfo, D. (2009), “The Past, Present and Future of Globalization: Colonialism, Terrorism, and the Need for Democratic Supranational Governance.” Review Journal of Political Philosophy , 7 (1), pp. 45–74. Harding, S. (1993), “Rethinking Standpoint Epistemology: What Is ‘Strong Objectivity’?,” in Feminist Epistemologies, ed. L. Alcoff. New York: Routledge, pp. 49–82. —(1997), “Comment on Heckman’s ‘Truth and Method: Feminist Standpoint Theory Revisited’: Whose Standpoint Needs the Regimes of Truth and Reality?” Signs , 22 (2), pp. 367–74. —(2003), “Introduction: Standpoint Theory as a Site of Political, Philosophic, and Scientifi c Debate,” in The Feminist Standpoint Theory Reader: Intellectual and Political Controversies , ed. S. Harding. New York: Routledge, pp. 1–15. —(2006), Science and Social Inequality: Feminist and Postcolonial Issues. Chicago: University of Illinois Press. Hartsock, N. (1983), “The Feminist Standpoint: Developing the Ground for a Specifi cally Feminist Historical Materialism,” in Discovering Reality: Feminist
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Perspectives on Epistemology, Metaphysics, Methodology, and Philosophy of Science , ed. S. Harding and M. Hintikka. Dordrecht: Reidel, pp. 283–310. Rose, H. (1983), “Hand, Brain, and Heart: A Feminist Epistemology for the Natural Sciences.” Signs , 9 (1), pp. 73–90. Smith, D. (1987), The Everyday World as Problematic: A Sociology for Women . Boston: Northeastern University Press. Zinn, H. (1995), A People’s History of the United States , revised edn. New York: Harper Collins.
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Berleant, A. (1997), Living in the Landscape: Towards an Aesthetics of Environment . Lawrence: University of Kansas Press. Bryson, N. (1990), Looking at the Overlooked: Four Essays on Still Life Painting. Cambridge: Harvard University Press. Budd, M. (2008), Aesthetic Essays . Oxford: Oxford University Press. Dretske, F. (2006), “Perception without Awareness,” in Perceptual Experience , ed. T. S. Gendler and J. Hawthorne. Oxford: Oxford University Press, pp. 147–80. Hales, S. D. (2007), Beer and Philosophy: The Unexamined Beer Isn’t Worth Drinking. Malden: Blackwell. Iseminger, G. (2008), “Experiential Theories of Aesthetic Value,” in Aesthetic Experience , ed. R. Shusterman and A. Tomlin, New York: Routledge, pp. 45–53. Kania, A. (2008), “New Waves in Musical Ontology,” in New Waves in Aesthetics , ed. K. Stock and K. Thompson-Jones. Houndmills, Basingstoke: Palgrave Macmillan, pp. 20–40. Korsmeyer, C. (1999), Making Sense of Taste: Food and Philosophy. Ithaca: Cornell University Press. Kupfer, J. (1983), Experience as Art: Aesthetics in Everyday Life. Albany: SUNY Press. Leddy, T. (2005), “The Nature of Everyday Aesthetics,” in The Aesthetics of Everyday Life , ed. A. Light and J. M. Smith, New York: Columbia University Press, pp. 3–22. Lewis, C. I. (1946), An Analysis of Knowledge and Valuation . La Salle, IL: Open Court. Light, A. and Smith, J. M. (eds) (2005), The Aesthetics of Everyday Life. New York: Columbia University Press. Livingston, P. (2004), “C. I. Lewis and the Outlines of Aesthetic Experience.” British Journal of Aesthetics , 44 (4), pp. 378–92. —(2006), “Utile et Dulce: A Reply to Noël Carroll.” British Journal of Aesthetics , 46 (3), pp. 274–81. —(2009), “Lewis, C(larence) I(rving),” in A Companion to Aesthetics , 2nd edn, ed. S. Davies et al. Malden: Wiley-Blackwell, pp. 405–8. Novitz, D. (1992), The Boundaries of Art . Philadelphia: Temple University Press.
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Pritchard, M. (2009), “Directions in Contemporary German Aesthetics.” Journal of Aesthetic Education , 43 (3), pp. 117–27. Saito, Y. (1997), “The Aesthetics of Unscenic Nature.” Journal of Aesthetics and Art Criticism , 56 (2), pp. 101–11. —(2007), Everyday Aesthetics . Oxford: Oxford University Press. Sartwell, C. (1995), Art of Living . Albany: SUNY Press. Shusterman, R. and Tomlin A. (eds) (2008), Aesthetic Experience. New York: Routledge. Smith, B. C. (ed.) (2007), Questions of Taste: The Philosophy of Wine . Oxford: Oxford University Press. Stecker, R. (2006), “Aesthetic Experience and Aesthetic Value.” Philosophy Compass , 1 (1), pp. 1–10.
philosophy.ribeiro.continuumbooks.com © Anna Christina Ribeiro (eds) (2012) The Continuum Companion to Aesthetics London: Continuum Books