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7Theatrical Enactment: The Guiding IntuitionsIn The Art of Theater, 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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6Full Appreciation of a Theatrical PerformanceIn The Art of Theater, 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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6Edwards, Finney, and Mahan on the Derivation of DutiesJournal of the History of Philosophy 13 (3): 347. 1975.
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6Hobbes'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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5Theatrical Performance is an Independent Form of ArtIn The Art of Theater, 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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4Interpretive Grasp of Theatrical PerformancesIn The Art of Theater, 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, 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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3IndexIn The Art of Theater, 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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3The Emergence of the Art of Theater: Background and HistoryIn The Art of Theater, 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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3Basic Theatrical UnderstandingIn The Art of Theater, 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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2Una Chaudhuri, Staging Place: The Geography of Modern DramaJournal of Aesthetics and Art Criticism 57 (4): 469-470. 1999.
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2Methods and ConstraintsIn The Art of Theater, 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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2Brian Vickers, Appropriating Shakespeare: Contemporary Critical QuarrelsJournal of Aesthetics and Art Criticism 53 (3): 331-332. 1995.
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1Bertolt BrechtIn M. Kelly (ed.), Oxford Encyclopedia of Aesthetics, Oxford University Press. 1998.Describes the life and influence of B. Brecht. Offers useful explanations of several key concepts Brecht employed, and revised over his career, including: gestus, Verfremdung, and Verfremdungseffekt.
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Handke's Kaspar, Wittgenstein's Tractatus, and the successful representation of alienationJournal of Dramatic Theory and Criticism 9 (2): 3-26. 1995.An investigation of Handke's play by means of an analysis of the elements of the Tractatus, known to have influenced Handke at the time he wrote Kaspar. This approach yields a much more plausible account of Handke's representation of his central character's alienation than are available from now-standard semiotic and post-structuralist analyses.
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FrontmatterIn The Art of Theater, Blackwell. 2007.The prelims comprise: Half Title Title Copyright Contents Prologue.
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Narrative, Fiction, ImaginationIn M. M. P. Sabates Pokorny Kotatko (ed.), Fictionality-Possibility-Reality, . 2010.Hamilton argues that narratives engage our imaginations not so much by having us pretend the events they depict are true or present as by having us engage in a kind of anticipation of events to come. The idea is that the grasp of a narratively structured presentation is explained in very much the same way any sequence of events, considered as a sequence, is grasped.
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GlossaryIn The Art of Theater, 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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EpilogueIn The Art of Theater, 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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Understanding PlaysIn D. D. Saltz Krasner (ed.), Staging Philosophy, . 2006.Hamilton argues that there is a level of understanding of theatrical performances, and narrative performances in particular (called "plays"), that does not require grasp of the large-scale aesthetic features that usually inform the structure of what is presented. This "basic understanding" is required for any spectator to go on to have a deeper understanding and, so, grounds any spectator's understanding of the larger-scale features of a performance.
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DramaIn R. R. K. S. Stecker Hopkins Higgins Davies (ed.), Blackwell Companion to Aesthetics, . 2009.Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.
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Theatrical SpaceJournal of Dramatic Theory and Criticism 31 (2): 21-47. 2007.Hamilton shows how awareness of the uses of space -- in particular uses of space in which to stage an event of any kind -- enable spectators to pick out characters, props, and the like across performances within production runs, across production runs, and even across productions employing different scripts. The key ideas of object identification are taken both from the philosophical and the empirical literature and are treated as epistemic ideas rather than metaphysical conceptions.
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TheaterIn Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics, Routledge. 2000.
Manhattan, Kansas, United States of America
Areas of Specialization
| Aesthetics |
Areas of Interest
| Epistemology |
| Philosophy of Mind |
| Aesthetics |
| Philosophy of Cognitive Science |