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139Arguing About Art: Contemporary Philosophical Debates (edited book)Routledge. 2001.Offering a unique 'debate' format, the third edition of_ _the bestselling_ Arguing About Art_ is ideal for newcomers to aesthetics or philosophy of art. This lively collection presents an extensive range of short, clear introductions to each of the discussions which include: sentimentality appreciation interpretation understanding objectivity nature food horror. With revised introductions, updated suggestions for further reading and new sections on pornography and societies without art, _Arguing…Read more
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99Yanal and others on Hume on tragedyJournal of Aesthetics and Art Criticism 50 (2): 151-154. 1992.
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95Aesthetic Experience in Schopenhauer's Metaphysics of WillEuropean Journal of Philosophy 16 (2): 179-193. 2008.No Abstract
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93"An Unaccountable Pleasure": Hume on Tragedy and the PassionsHume Studies 24 (2): 335-354. 1998.In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XXIV, Number 2, November 1998, pp. 335-354 "An Unaccountable Pleasure": Hume on Tragedy and the Passions ALEX NEILL Hume begins his essay "Of Tragedy" with a description of what he calls "a singular phaenomenon": It seems an unaccountable pleasure, which the spectators of a well-written tragedy receive from sorrow, terror, anxiety, and other passions, that are in themselves disagreeable and uneasy. The more they a…Read more
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84Relational Theories of Art: the History of an ErrorBritish Journal of Aesthetics 52 (2): 141-151. 2012.Relational theories of art—paradigmatically, the ‘Institutional’ theory—arose from dissatisfaction with the Wittgenstein-inspired ‘family resemblance’ account of art, and were taken not merely to be preferable in various ways to that account, but actually to falsify it. We argue that this latter thought is rooted in a fundamental misunderstanding of the falsification-conditions of a family resemblance account; and we suggest that, once the reasons for this are appreciated, any apparent motivatio…Read more
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83Religious Music for Godless EarsMind 119 (476): 999-1023. 2010.The discussion in this paper sets out from two thoughts, one a straightforward empirical observation, the other a worry. The observation is that many who do not believe in God nevertheless regard certain pieces of religious music, such as Bach’s B minor Mass, as among the greatest works of art. The worry is that there must be something compromised or incomplete in the atheist’s experience of such works. Taken together, these thoughts would seem to point to the sceptical conclusion that the high …Read more
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82Locke on habituation, autonomy, and educationJournal of the History of Philosophy 27 (2): 225-245. 1989.
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74Emotional responses to fiction: Reply to RadfordJournal of Aesthetics and Art Criticism 53 (1): 75-78. 1995.
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67The pornographic, the erotic, the charming and the sublimeIn Hans Maes & Jerrold Levinson (eds.), Art and Pornography: Philosophical Essays, Oxford University Press Uk. pp. 48-60. 2012.
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66Better Consciousness: Schopenhauer's Philosophy of Value (edited book)Wiley-Blackwell. 2009._Better Consciousness: Schopenhauer's Philosophy of Value_ reassesses Schopenhauer's aesthetics and ethics and their contemporary relevance. Features a collection of new essays from leading Schopenhauer scholars Explores a relatively neglected area of Schopenhauer's philosophy Offers a new perspective on a great thinker who crystallized the pessimism of the nineteenth century and has many points of contact with twenty-first century thought
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65Schopenhauer on Tragedy and the SublimeIn Bart Vandenabeele (ed.), A Companion to Schopenhauer, Wiley-blackwell. 2011.This chapter contains sections titled: Notes References Further Reading.
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63The bleakness of Schopenhauer’s notoriously pessimistic take on the human condition is mitigated to some extent by his recognition of the possibilities of aesthetic experience and of denial of the will-to-live. However, as Schopenhauer himself acknowledges, his account of the latter appears inconsistent with his determinism, and we argue that this is no less the case with regard to his account of the former. After outlining what we take to be the basis and extent of Schopenhauer’s deterministic …Read more
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62Art and emotionIn Jerrold Levinson (ed.), The Oxford handbook of aesthetics, Oxford University Press. 2003.
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43Fear and beliefPhilosophy and Literature 19 (1): 94-101. 1995.In lieu of an abstract, here is a brief excerpt of the content:Fear And BeliefAlex NeillIn his recent article “Fear Without Belief,” 1 John Morreall argues that once we have an adequate understanding of fear—and in particular, once we understand that not all fears are based on or conceptually involve beliefs—Kendall Walton’s well-known “puzzle” concerning whether we can fear what we know to be fictional “dissolves.” 2 I would like here to point to some questions and difficulties raised by Morrea…Read more
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40Still an Error: Relational Theories of ArtBritish Journal of Aesthetics 56 (2): 187-189. 2016.Aaron Meskin and Simon Fokt have recently taken issue with our 2012 paper, ‘Relational Theories of Art: the History of an Error’. Here we respond to their objections.
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39Ship design needs to respond to and attract an ever more design conscious society. However, little research has been conducted into perceptions of beauty and pleasure and how such perceptions can be usefully absorbed into ship design. Aesthetic consideration, is seen as a distraction from the bespoke nature of the ship design process and is often avoided, second guessed or left for external consultancy. The ship design discipline requires the nurturing of its own aesthetic methods, for future de…Read more
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38EditorialEuropean Journal of Philosophy 16 (2): 163-163. 2008.The short 'Editorial' introduces the published papers in 'Schopenhauer's Philosophy of Value', and explains their origin in a conference at the University of Southampton in July 2007.
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36The Philosophy of Art: Readings Ancient and ModernMcGraw-Hill Education. 1994.This anthology is intended as a core text for courses in aesthetics or philosophy of art. It contains a wealth of readings from both classic and contemporary sources, and aims to present substantial selections from those texts rather than mere "snippets." Readings are organized historically within four broad themes so that students can see how concepts of art have evolved and been debated. Each reading is introduced by the authors, who suggest connections between the reading and others in the an…Read more
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32Meaning and Interpretation: Wittgenstein, Henry James, and Literary KnowledgeJournal of Aesthetics and Art Criticism 55 (1): 81-82. 1997.
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32Inconvenient Fictions: Literature and the Limits of TheoryJournal of Aesthetics and Art Criticism 50 (4): 345-347. 1992.
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32Schopenhauer's philosophy of valueIn Alex Neill & Christopher Janaway (eds.), Better Consciousness: Schopenhauer's Philosophy of Value, Wiley-blackwell. 2009.Editor's contribution to the edited volume, Better Consciousness: Schopenhauer's Philosophy of Value, which reassesses Schopenhauer's aesthetics and ethics and their contemporary relevance.
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University of SouthamptonProfessor
Southampton, England, United Kingdom of Great Britain and Northern Ireland