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169On Kendall Walton's Mimesis as Make-BelieveMemesis As Make-Believe (review)Philosophy and Phenomenological Research 51 (2): 383. 1991.
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12Real ImaginingsMemesis As Make-BelievePhilosophy and Phenomenological Research 51 (2): 389. 1991.
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56Mimesis as Make-Believe: On the Foundations of the Representational ArtsJournal of Aesthetics and Art Criticism 49 (2): 161-166. 1990.
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95Aesthetic Properties: Context Dependent and PerceptualJournal of Aesthetics and Art Criticism 78 (1): 79-84. 2020.The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 79-84, Winter 2020.
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26Metaphor and prop oriented make-believeIn Mark Eli Kalderon (ed.), Fictionalism in Metaphysics, Clarendon Press. 2005.Peer Reviewed.
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42Comments on Mimesis as Make-BelieveMemesis As Make-Believe (review)Philosophy and Phenomenological Research 51 (2): 395. 1991.
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42A Note on Mimesis as Make-BelieveMemesis As Make-Believe (review)Philosophy and Phenomenological Research 51 (2): 401. 1991.
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13Restricted Quantification, Negative Existentials, and FictionDialectica 57 (2): 239-242. 2003.Realist theories about fictional entities must explain the fact that, in ordinary contexts people deny, apparently in all seriousness, that there are such things as the Big Bad Wolf and Santa Claus. The usual explanation treats these denials as involving restricted quantification: The speaker is said to be denying only that the Big Bad Wolf and Santa Claus are to be found among real or actual things, not that there are no such things at all. This is unconvincing. The denials may just as naturall…Read more
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394Metaphor and Prop Oriented Make‐BelieveEuropean Journal of Philosophy 1 (1): 39-57. 1993.Peer Reviewed.
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1Conceptual Schemes: A Study of Linguistic Relativity and Related Philosophical ProblemsDissertation, Cornell University. 1967.
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73Comment on Catherine Wilson, 'Grief and the Poet'British Journal of Aesthetics 53 (1): 113-115. 2013.
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405Empathy, Imagination, and Phenomenal ConceptsIn In Other Shoes: Music, Metaphor, Empathy, Existence, Oxford University Press. pp. 1-16. 2015.I propose a way of understanding empathy on which it does not necessarily involve any-thing like thinking oneself into another’s shoes, or any imagining at all. Briefly, the empa-thizer uses an aspect of her own mental state as a sample, expressed by means of a phenomenal concept, to understand the other person. This account does a better job of explaining the connection between empathetic experiences and the objects of empathy than most traditional ones do. And it helps to clarify the relations…Read more
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1036Morals in Fiction and Fictional Morality (I)Proceedings of the Aristotelian Society 68 27-50. 2015 [1994].
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12On the (so-called) puzzle of imaginative resistanceIn Shaun Nichols (ed.), The Architecture of the Imagination, Oxford University Press. pp. 137-148. 2006.
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1Mimesis as Make-Believe: On the Foundations of the Representational ArtsPhilosophy 66 (258): 527-529. 1990.
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1093Mimesis as make-believe: on the foundations of the representational artsHarvard University Press. 1990.Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
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250How remote are fictional worlds from the real world?Journal of Aesthetics and Art Criticism 37 (1): 11-23. 1978.
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32Review of Works and Worlds of Arts by Nicholas Wolterstorff (review)Journal of Philosophy 80 (3): 179-193. 1983.
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135Depiction, perception, and imagination: Responses to Richard WollheimJournal of Aesthetics and Art Criticism 60 (1). 2002.
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172"It's Only a Game!" Sports As FictionIn In Other Shoes: Music, Metaphor, Empathy, Existence, Oxford University Press. pp. 75-83. 2015.Sports and competitive games of many kinds—from tag to chess to baseball—are often occasions for make-believe. To participate either as a competitor or as a spectator is frequently to engage in pretense. The activities of playing and watching games have this in common with appreciating works of fiction and participating in children’s make-believe activities, although the make-believe in sports, masked by real interests and concerns, is less obvious than it is in the other cases. What is most int…Read more
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47Mimesis as Make-Believe: On the Foundations of the Representational ArtsPhilosophical Review 102 (3): 440. 1993.
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336Précis of mimesis as make-believe: On the foundations of the representational artsPhilosophy and Phenomenological Research 51 (2): 379-382. 1991.
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206Morals in Fiction and Fictional MoralityAristotelian Society Supplementary Volume 68 (1): 27-66. 1994.
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129Languages of art: An emendationPhilosophical Studies 22 (5-6). 1971.In nelson goodman's "languages of art" a symbol system must be 'finitely differentiated', both syntactically and semantically, to count as a 'notation'. goodman's formulations of these differentiation requirements are seriously defective. it is shown that most of the examples of systems which he claims fail these requirements, do not fail them as they are stated. reformulations of the two requirements are offered, which accord with the examples and seem otherwise acceptable
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96Fearing fictionallyIn Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates, Routledge. pp. 257. 2008.
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1The presentation and portrayal of sound patternsIn J. Dancy, J. M. E. Moravcsik & C. C. W. Taylor (eds.), Human Agency: Language, Duty, and Value : Philosophical Essays in Honor of J.O. Urmson, Stanford University Press. pp. 230-257. 1988.
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Philosophy of Language |
Philosophy of Mind |
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Philosophy of Language |
Philosophy of Mind |
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