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117Real ImaginingsMemesis As Make-BelievePhilosophy and Phenomenological Research 51 (2): 389. 1991.
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346On Kendall Walton's Mimesis as Make-BelieveMemesis As Make-BelievePhilosophy and Phenomenological Research 51 (2): 383. 1991.
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228Mimesis as Make-Believe: On the Foundations of the Representational ArtsJournal of Aesthetics and Art Criticism 49 (2): 161-166. 1990.
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301Aesthetic Properties: Context Dependent and PerceptualJournal of Aesthetics and Art Criticism 78 (1): 79-84. 2020.The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 79-84, Winter 2020.
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67Metaphor and prop oriented make-believeIn Mark Eli Kalderon (ed.), Fictionalism in Metaphysics, Oxford University Press Uk. 2005.Peer Reviewed.
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146Comments on Mimesis as Make-BelieveMemesis As Make-Believe (review)Philosophy and Phenomenological Research 51 (2): 395. 1991.
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211A Note on Mimesis as Make-BelieveMemesis As Make-BelievePhilosophy and Phenomenological Research 51 (2): 401. 1991.
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635Metaphor and Prop Oriented Make‐BelieveEuropean Journal of Philosophy 1 (1): 39-57. 1993.Peer Reviewed.
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1Conceptual Schemes: A Study of Linguistic Relativity and Related Philosophical ProblemsDissertation, Cornell University. 1967.
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181Comment on Catherine Wilson, 'Grief and the Poet'British Journal of Aesthetics 53 (1): 113-115. 2013.
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908Empathy, Imagination, and Phenomenal ConceptsIn Kendall L. Walton (ed.), In Other Shoes: Music, Metaphor, Empathy, Existence, Oxford University Press. pp. 1-16. 2015.I propose a way of understanding empathy on which it does not necessarily involve any-thing like thinking oneself into another’s shoes, or any imagining at all. Briefly, the empa-thizer uses an aspect of her own mental state as a sample, expressed by means of a phenomenal concept, to understand the other person. This account does a better job of explaining the connection between empathetic experiences and the objects of empathy than most traditional ones do. And it helps to clarify the relations…Read more
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21On the (so-called) puzzle of imaginative resistanceIn Shaun Nichols (ed.), The Architecture of the Imagination: New Essays on Pretence, Possibility, and Fiction, Oxford University Press Uk. pp. 137-148. 2006.
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2713Morals in Fiction and Fictional Morality (I)Proceedings of the Aristotelian Society 68 27-50. 2015 [1994].
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1Mimesis as Make-Believe: On the Foundations of the Representational ArtsPhilosophy 66 (258): 527-529. 1990.
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1462Mimesis as make-believe: on the foundations of the representational artsHarvard University Press. 1990.Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
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402How remote are fictional worlds from the real world?Journal of Aesthetics and Art Criticism 37 (1): 11-23. 1978.
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219Depiction, perception, and imagination: Responses to Richard WollheimJournal of Aesthetics and Art Criticism 60 (1). 2002.
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3The presentation and portrayal of sound patternsIn J. O. Urmson, Jonathan Dancy, J. M. E. Moravcsik & C. C. W. Taylor (eds.), Human agency: language, duty, and value: philosophical essays in honor of J.O. Urmson, Stanford University Press. pp. 230-257. 1988.
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113Mimesis as Make-Believe: On the Foundations of the Representational ArtsPhilosophical Review 102 (3): 440. 1993.
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55Pictures, Titles, Depictive ContentIn Richard Heinrich, Elisabeth Nemeth, Wolfram Pichler & David Wagner (eds.), Publications of the Austrian Ludwig Wittgenstein Society - N.S. 17, De Gruyter. pp. 395-408. 2011.
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210Languages of art: An emendationPhilosophical Studies 22 (5-6). 1971.In nelson goodman's "languages of art" a symbol system must be 'finitely differentiated', both syntactically and semantically, to count as a 'notation'. goodman's formulations of these differentiation requirements are seriously defective. it is shown that most of the examples of systems which he claims fail these requirements, do not fail them as they are stated. reformulations of the two requirements are offered, which accord with the examples and seem otherwise acceptable
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128Fearing fictionallyIn Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates, Routledge. pp. 257. 2013.
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296What is abstract about the art of music?Journal of Aesthetics and Art Criticism 46 (3): 351-364. 1988.
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373Aesthetics—what? Why? And wherefore?Journal of Aesthetics and Art Criticism 65 (2). 2007.It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions
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3Seeing-In and seeing fictionallyIn J. Hopkins & A. Savile (eds.), Psychoanalysis Mind and Art, Blackwell. pp. 281--291. 1992.
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460Précis of mimesis as make-believe: On the foundations of the representational artsPhilosophy and Phenomenological Research 51 (2): 379-382. 1991.
Areas of Specialization
| Metaphysics |
| Philosophy of Language |
| Philosophy of Mind |
| Aesthetics |
Areas of Interest
| Metaphysics |
| Philosophy of Language |
| Philosophy of Mind |
| Aesthetics |