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12Real ImaginingsMemesis As Make-BelievePhilosophy and Phenomenological Research 51 (2): 389. 1991.
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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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57Mimesis as Make-Believe: On the Foundations of the Representational ArtsJournal of Aesthetics and Art Criticism 49 (2): 161-166. 1990.
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96Aesthetic 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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28Metaphor and prop oriented make-believeIn Mark Eli Kalderon (ed.), Fictionalism in Metaphysics, Clarendon Press. 2005.Peer Reviewed.
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43Comments 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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397Metaphor 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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74Comment on Catherine Wilson, 'Grief and the Poet'British Journal of Aesthetics 53 (1): 113-115. 2013.
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410Empathy, 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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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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1044Morals in Fiction and Fictional Morality (I)Proceedings of the Aristotelian Society 68 27-50. 2015 [1994].
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1Mimesis as Make-Believe: On the Foundations of the Representational ArtsPhilosophy 66 (258): 527-529. 1990.
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93Marvelous images: on values and the artsOxford University Press. 2008.The twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic 'Categories of Art' is included, as is 'Transparent Pictures', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have …Read more
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235Listening with imagination: Is music representational?Journal of Aesthetics and Art Criticism 52 (1): 47-61. 1994.
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443How marvelous! Toward a theory of aesthetic valueJournal of Aesthetics and Art Criticism 51 (3): 499-510. 1993.
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281Transparent Pictures: On the Nature of Photographic RealismCritical Inquiry 11 (2): 246-277. 1984.That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature …Read more
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85Meiosis, hyperbole, ironyPhilosophical Studies (1): 00-00. 2015.It is tempting to assume that understatement and overstatement, meiosis and hyperbole, are analogous figures of speech, differing only in whether the speaker represents a quantity as larger, or as smaller, than she means to claim that it is. But these tropes have hugely different roles in conversation. Understatement is akin to irony, perhaps a species of it. Overstatement is an entirely different kettle of fish. Things get interestingly messy when we notice that to overstate how large or expen…Read more
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57Looking Again through Photographs: A Response to Edwin MartinCritical Inquiry 12 (4): 801-808. 1986.My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far…Read more
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11Style and the Products and Processes of ArtIn Leonard B. Meyer & Berel Lang (eds.), The Concept of Style, University of Pennsylvania Press. pp. 45--66. 1979.
Areas of Specialization
Metaphysics |
Philosophy of Language |
Philosophy of Mind |
Aesthetics |
Areas of Interest
Metaphysics |
Philosophy of Language |
Philosophy of Mind |
Aesthetics |