• Imagining and Knowing: The Shape of Fiction
    Oxford University Press. 2020.
    Gregory Currie defends the view that works of fiction guide the imagination, and then considers whether fiction can also guide our beliefs. He makes a case for modesty about learning from fiction, as it is easy to be too optimistic about the psychological insights of authors, and empathy is hard to acquire while not always morally advantageous.
  •  37
    On the road to antirealism∗1
    Inquiry: An Interdisciplinary Journal of Philosophy 36 (4): 465-483. 1993.
  •  58
    Art For Art’s Sake In The Old Stone Age
    Postgraduate Journal of Aesthetics 6 (1): 1-23. 2009.
    Is there a sensible version of the slogan “Art for art’s sake”? If there is, does it apply to anything? I believe that the answers to these questions are Yes and Yes. A positive answer to the first question alone would not be of interest; an intelligible claim without application does not do us much good. It’s the positive answer to the second question which is, I think, more important and perhaps surprising, since I claim to find art for art’s sake at a time well before most authorities would a…Read more
  •  26
    Macbeth, Throne of Blood, and the Idea of a Reflective Adaptation
    with Tzachi Zamir
    Journal of Aesthetics and Art Criticism 76 (3): 297-308. 2018.
  •  276
    Human aesthetic practices show a sensitivity to the ways that the appearance of an artefact manifests skills and other qualities of the maker. We investigate a possible origin for this kind of sensibility, locating it in the need for co-ordination of skill-transmission in the Acheulean stone tool culture. We argue that our narrative supports the idea that Acheulian agents were aesthetic agents. In line with this we offer what may seem an absurd comparison: between the Acheulian and the Quattroce…Read more
  •  5
    Review (review)
    with Manfred Stöckler, A. F. Chalmers, and Michael Heidelberger
    Erkenntnis 16 (1): 161-190. 1981.
  •  8
    Reviews (review)
    British Journal for the Philosophy of Science 32 (2): 180-182. 1981.
  •  7
    Résumé Dans un essai antérieur j’ai défendu une version de la théorie de l’ironie comme feintise — selon laquelle l’ironiste prétend adopter une perspective qui est en quelque sorte déficiente. J’ai aussi comparé cette version de la théorie de la feintise avec la théorie échoïque de Sperber et Wilson, en concluant que la théorie de la feintise était supérieure. Deirdre Wilson a répondu à cet article. Dans le présent article, je réponds aux contre-arguments de Wilson. Je fournis aussi un contre-e…Read more
  •  4
    Reviews (review)
    British Journal for the Philosophy of Science 32 (2): 197-200. 1981.
  • Aesthetics and cognitive science
    In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics, Oxford University Press. pp. 706--721. 2003.
  • SLUGA, H.: "Gottlob Frege" (review)
    British Journal for the Philosophy of Science 32 (n/a): 200. 1981.
  •  12
    Mind and Language 19 (4). 2004.
  •  5
    Reviews (review)
    British Journal for the Philosophy of Science 36 (4): 475-479. 1985.
  •  41
    Aliens, Too
    Analysis 53 (2). 1993.
  •  297
    How to think about the modularity of mind-reading
    with Kim Sterelny
    Philosophical Quarterly 50 (199): 145-160. 2000.
  •  5
    Reviews (review)
    British Journal for the Philosophy of Science 32 (2): 200-206. 1981.
  • Book Reveiws (review)
    Mind 100 (399): 419-421. 1991.
  •  61
    Interpretation and objectivity
    Mind 102 (407): 413-428. 1993.
  •  9
    An Ontology of Art
    Philosophy and Phenomenological Research 52 (1): 215-222. 1992.
  •  27
    The Creation of Art
    Philosophical Review 114 (1): 139-141. 2005.
  •  6
    Erratum: Knowledge of Meaning
    with Peter Eggenberger
    Noûs 17 (3): 522. 1983.
    An examination of Michael Dummett's views on meaning.
  •  54
    McTaggart at the Movies
    Philosophy 67 (261). 1992.
    I shall argue that cinematic images do not have tense: not, at least, in the sense that has been ascribed to them by film theorists. This does not abolish time in cinema, for there can be temporal relations without tense, and temporal relations between cinematic images can indicate temporal relations between events depicted. But the dispensability of tense will require us to rethink our assumptions about what is sometimes called anachrony in cinema: the reordering of story-time by narrative, of …Read more
  •  179
    What is fiction?
    Journal of Aesthetics and Art Criticism 43 (4): 385-392. 1985.
  •  65
    Actual Art, Possible Art, and Art's Definition
    Journal of Aesthetics and Art Criticism 68 (3): 235-241. 2010.
  •  30
    Works of Fiction and Illocutionary Acts
    Philosophy and Literature 10 (2): 304-308. 1986.
  •  11
    Fictional Worlds (review)
    Philosophy and Literature 11 (2): 351-352. 1987.
  •  3
    XI-Imagination as Motivation
    Proceedings of the Aristotelian Society 102 (3): 201-216. 2002.
  •  9
    Image and Mind: Film, Philosophy, and Cognitive Science
    with Berys Gaut
    Philosophical Review 107 (1): 138. 1998.
    In this important and impressive book, Gregory Currie tackles several fundamental topics in the philosophy of film and says much of general interest about the nature of imagination. The first part examines the nature of film representation, rejecting the view that spectators are subject to any kind of cognitive or perceptual illusions. Currie also argues against Walton’s transparency claim, which holds that when we look at a photograph we are literally seeing the object photographed. He instead …Read more
  •  169
    Unreliability refigured: Narrative in literature and film
    Journal of Aesthetics and Art Criticism 53 (1): 19-29. 1995.
    Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.