•  1144
    Between Philosophy and Art
    In Taylor Carman (ed.), Cambridge Companion to Merleau Ponty, Cambridge University Press. 2004.
  •  336
    Grief and Belief
    British Journal of Aesthetics 53 (1): 103-107. 2013.
  •  297
    The Epistemology of Fiction and the Question of Invariant Norms
    Royal Institute of Philosophy Supplement 75 105-126. 2014.
    A primary dimension of our engagement with fictional works of art – paradigmatically literary, dramatic, and cinematic narratives – is figuring out what is true in such representations, what the facts are in the fictional world. These facts include not only those that ground any genuine understanding of a story – say, that it was his own father whom Oedipus killed – but also those that may be missed in even a largely competent reading, say, that Emma Bovary's desires and dissatisfactions are fed…Read more
  •  254
    Expression as Realization: Speakers' Interests in Freedom of Speech
    Law and Philosophy 30 (5): 517-539. 2011.
    I argue for the recognition of a particular kind of interest that one has in freedom of expression: an interest served by expressive activity in forming and discovering one’s own beliefs, desires, and commitments. In articulating that interest, I aim to contribute to a family of theories of freedom of expression that find its justification in the interests that speakers have in their own speech or thought, to be distinguished from whatever interests they may also have as audiences or third parti…Read more
  •  219
    In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...
  •  185
    Reply to carrier
    Journal of Aesthetics and Art Criticism 53 (4): 429. 1995.
  •  147
    In the title essay of The Philosophical Disenfranchisement of Art Arthur Danto describes two dominant strains of the philosophy of art in its Platonic beginnings: one that art is dangerous, and thus subject to political censorship or control, and the other that art exists at several removes from the ordinary reality, impotent to effect any meaningful change in the human world.1 These two ways of understanding art, really two charges laid at art’s door, seem contradictory, he writes, until one re…Read more
  •  117
    Aptness of emotions for fictions and imaginings
    Pacific Philosophical Quarterly 92 (4): 468-489. 2011.
    Many philosophical accounts of the emotions conceive of them as susceptible to assessments of rationality, fittingness, or some other notion of aptness. Analogous assumptions apply in cases of emotions directed at what are taken to be only fictional or only imagined. My question is whether the criteria governing the aptness of emotions we have toward what we take to be real things apply invariantly to those emotions we have toward what we take to be only fictional or imagined. I argue that what …Read more
  •  98
    A functional view of artistic evaluation
    Philosophical Studies 155 (2): 289-305. 2011.
    I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (moral, cognitive…Read more
  •  83
    Criticism
    In Gaut and Lopes (ed.), Routledge Companion to Aesthetics, Routledge. 2013.
  •  53
    Ethics, Aesthetics, and Artistic Ends
    Journal of Value Inquiry 45 (2): 203-214. 2011.
  •  36
    Normative and scientific approaches to the understanding and evaluation of art
    Behavioral and Brain Sciences 36 (2): 144-145. 2013.
    The psycho-historical framework proposes that appreciators' responses to art vary as a function of their sensitivity to its historical dimensions. However, the explanatory power of that framework is limited insofar as it assimilates relevantly different kinds of appreciation and insofar as it eschews a normative account of when a response succeeds in qualifying as an appreciation of art qua art
  •  33
    Imagination and Film
    In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures, Springer. pp. 845-863. 2019.
    This chapter addresses the application of contemporary theories of the imagination—largely drawn from cognitive psychology—to our understanding of film. Topics include the role of the imagination in our learning what facts hold within a fictional film, including what characters’ motivations, beliefs, and feelings are; how our perceptual experience of a film explains our imaginative visualizing of its contents; how fictional scenarios in films generate certain affective and evaluative responses; …Read more
  •  32
  •  27
    Symposium: Arthur Danto, The Abuse of Beauty*: Internal Beauty
    Inquiry: An Interdisciplinary Journal of Philosophy 48 (2): 145-154. 2005.
    This Article does not have an abstract
  •  26
    How do our engagements with fictions and other products of the imagination compare to our experiences of the real world? Are the feelings we have about a novel's characters modelled on our thoughts about actual people? If it is wrong to feel pleasure over certain situations in real life, can it nonetheless be right to take pleasure in analogous scenarios represented in a fantasy or film? Should the desires we have for what goes on in a make-believe story cohere with what we want to happen in the…Read more
  •  26
    Philosophy of Literature
    Oxford Bibliographies Online. 2013.
  •  20
    David carrier's art history
    Journal of Aesthetics and Art Criticism 53 (1): 39-47. 1995.
    It is a commonplace now among art historians that to say, with Ruskin, that an artist had an "innocent eye" was to give the artist an empty compliment. It would have been to say that the artist possessed something no one could possess, and that, if we follow E. H. Gombrich, the artist was not part of the history of art. Gombrich's goal was to show that the history of art was constituted by artists "making and matching" as they saw and represented more accurately the objects with which their pred…Read more
  •  4
    Opinion
    with Judith Surkis
    The recent arrest of Roman Polanski, the film director who fled to France from the United States in 1978 on the eve of sentencing for having unlawful sex with a 13-year-old girl, has caused an international ruckus. The French culture minister, Frédéric Mitterrand, and the French foreign minister, Bernard Kouchner, both issued statements of support for Mr. Polanski. But many others in France have expressed outrage at that support and said he should face justice for the crime
  •  1
    David Carrier's Art History
    Journal of Aesthetics and Art Criticism 53 (1): 39-47. 1995.
  • The Life of a Style: Beginnings and Endings in the Narrative History of Art
    Journal of Aesthetics and Art Criticism 60 (4): 360-361. 2002.
  • Pictorial realism
    In Michael Kelly (ed.), Encyclopedia of Aesthetics, Oxford University Press. pp. 4--109. 1998.
  • Blackwell Companion to Arthur Danto (edited book)
    with Lydia Goehr
    Blackwell. forthcoming.