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4Methods and ConstraintsIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: Idealized Cases that Help Focus on Features Needing Analysis Three General Facts about Theatrical Performances and the Constraints They Impose on any Successful Account of Theatrical Performances.
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5Interpretive Grasp of Theatrical PerformancesIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: Success Conditions for Interpreting what is Performed and Interpreting how it is Performed Eschewing Theories of “Work Meaning” Interpretation and Significance Interpreting Performers.
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4The Mechanics of Basic Theatrical UnderstandingIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: The “Feature‐Salience” Model of Spectator Convergence on the Same Characteristics What it is to Respond to a Feature as Salient for Some Characteristics or a Set of Facts A Thin Common Knowledge Requirement A Plausibly Thickened Common Knowledge Requirement The Feature‐Salience Model, “Reader‐Response Theory,” and “Intentionalism” Generalizing the Salience Mechanism to Encompass Non‐Narrative Performances Some Important Benefits of the Feature‐Salience Model…Read more
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FrontmatterIn The Art of Theater, Wiley-blackwell. 2007.The prelims comprise: Half Title Title Copyright Contents Prologue.
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8Deeper Theatrical UnderstandingIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: General Success Conditions for Deeper Theatrical Understanding More Precise Success Conditions: Two Kinds of Deeper Understanding Some Puzzles about the Relation between Understanding What is Performed and Understanding How it is Performed Deeper Theatrical Understanding and Full Appreciation of a Theatrical Performance.
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4The Emergence of the Art of Theater: Background and HistoryIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: The Backstory: 1850s to 1950s The Decisive Influences: Brecht, Artaud, Grotowski The Decisive Years: 1961 to 1985 The Final Threads: Absorption of New Practices into the Profession and the Academy.
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EpilogueIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: The Idea of a Tradition and Tradition‐Defining Constraints Constraints Derived from Origins in Written Texts What Really Constrains Performances in the Text‐Based Tradition The Myth of “Of”
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8Theatrical Enactment: The Guiding IntuitionsIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: Enactment: Something Spectators and Performers do The Crucial Concept: “Attending to Another” What it is to “Occasion” Responses Audience Responses: Willing Suspension of Disbelief, Acquired Beliefs, or Acquired Abilities Relativizing the Account by Narrowing its Scope to Narrative Performances.
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GlossaryIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: Idealized Cases Models of the Text‐Performance Relation Definitions of Terms Used to Describe What Spectators Do Definitions of Terms Used to Describe What Performers Do Counterfactual Conditionals Demonstrative and Recognition‐Based Identification Feature‐salience Model Metaphysical Realism Necessary and Sufficient Conditions Ontology, Metaphysics, Epistemology Note.
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7What Performers DoIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: What Performers do and what Audiences can Know The Features of Performers and Choices that Performers Make Theatrical Conventions as Sequences of Features Having Specific “Weight” What is Involved in Reference to Theatrical Styles More about Styles, as Produced and as Grasped Grasp of Theatrical Style and Deeper Theatrical Understanding.
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4IndexIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: Identifying Characters, Events, and Other Objects in Narrative Performances Re‐Identification of Characters and Other Objects in Narrative Performances The Special Nature of Theatrical (Uses of) Space: Performances and Performance Space Cross‐Performance Re‐Identification Identifying and Re‐Identifying Objects in Non‐Narrative Performances Added Benefits of the Demonstrative and Recognition based Approach to Identification and Re‐Identification Theatrical Pe…Read more
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6Theatrical Performance is an Independent Form of ArtIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: Theatrical Performance as Radically Independent of Literature Theatrical Performance as a Form of Art.
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6Full Appreciation of a Theatrical PerformanceIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: The Case of the Culturally Lethargic Company Broader Implications of the CLC Problem The “Imputationalist” Solution Solving the CLC Problem without Resorting to Imputationalism Full Appreciation of a Theatrical Performance and the Detection of Theatrical Failures.
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5Basic Theatrical UnderstandingIn The Art of Theater, Wiley-blackwell. 2007.This chapter contains section titled: Minimal General Success Conditions for Basic Theatrical Understanding Physical and Affective Responses of Audiences as Non‐Discursive Evidence of Understanding The Success Conditions for Basic Theatrical Understanding Met by Moment‐to‐moment Apprehension of Performances “Immediate Objects,” “Developed Objects,” and “Cogency” Objects of Understanding having Complex Structures Generalizing Beyond Plays The Problem of “Cognitive Uniformity”
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11Hobbes's CreativitySpringer Nature Switzerland. 2023.This book approaches Hobbes's philosophy from a completely new perspective: his creativity. Creativity is the production of something which experts consider to be original, valuable and of high quality. James Hamilton explores Hobbes's creativity by focusing on his development, personality, and motivation in the context of his culture and environment, and on the ways in which he thought creatively, as inferred from his writings. Identification of the ideas which Hobbes drew upon is an important …Read more
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81Pyrrhonism in the Political Philosophy of Thomas HobbesBritish Journal for the History of Philosophy 20 (2): 217-247. 2012.The importance of Pyrrhonism to Hobbes's political philosophy is much greater than has been recognized. He seems to have used Pyrrhonist arguments to support a doctrine of moral relativity, but he was not a sceptic in the Pyrrhonist sense. These arguments helped him to develop his teaching that there is no absolute good or evil; to minimise the purchase of natural law in the state of nature and its restrictions on the right of nature; virtually to collapse natural law into civil law; and to make…Read more
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41Hobbes on FelicityHobbes Studies 29 (2): 129-147. 2016._ Source: _Volume 29, Issue 2, pp 129 - 147 Thomas Hobbes’s concept of felicity is a re-imagining of the Hellenistic concept of _eudaimonia_, which is based on the doctrine that people by nature are happy with little. His concept is based instead on an alternative view, that people by nature are never satisfied and it directly challenges the Aristotelian and Hellenistic concepts of _eudaimonia_. I also will suggest that Hobbes developed it from ideas he found in Aristotle’s _Rhetoric_ as well as…Read more
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8Edwards, Finney, and Mahan on the Derivation of DutiesJournal of the History of Philosophy 13 (3): 347. 1975.
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18Maoilearca Ó., Cull Laura and Lagaay Alice, eds., The Routledge Companion to Performance Philosophy (Routledge, 2020), xxv + 463 pp., 36 b&w illus., $236.64 cloth (review)Journal of Aesthetics and Art Criticism 79 (1): 130-133. 2021.
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19The Routledge Companion to Performance PhilosophyJournal of Aesthetics and Art Criticism. forthcoming.
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6Una Chaudhuri, Staging Place: The Geography of Modern DramaJournal of Aesthetics and Art Criticism 57 (4): 469-470. 1999.
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3Brian Vickers, Appropriating Shakespeare: Contemporary Critical QuarrelsJournal of Aesthetics and Art Criticism 53 (3): 331-332. 1995.
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12Role Playing and Identity: The Limits of Theatre as MetaphorJournal of Aesthetics and Art Criticism 42 (3): 337-339. 1982.
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8Aesthetic and Artistic VerdictsCroatian Journal of Philosophy 19 (2): 217-232. 2019.In this article I propose a way of thinking about aesthetic and artistic verdicts that would keep them distinct from one another. The former are reflections of the kinds of things we prefer and take pleasure in; the latter are reflections of other judgments we make about the kinds of achievements that are made in works of art. In part to support this view of verdicts, I also propose a way of keeping distinct the description, the interpretation, and the evaluation of works of art. (And along the …Read more
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8Kivy, Peter. Once‐Told Tales: An Essay in Literary Aesthetics. Chichester, UK: Wiley‐Blackwell, 2011, viii + 202 pp., $104.95 cloth (review)Journal of Aesthetics and Art Criticism 71 (2): 211-212. 2013.
Manhattan, Kansas, United States of America
Areas of Specialization
Aesthetics |
Areas of Interest
Epistemology |
Philosophy of Mind |
Aesthetics |
Philosophy of Cognitive Science |