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22In sections I-VII of this chapter I outline the theoretical background for a research programme considering whether the expressiveness of a culture’s music can be recognised by people from different musical cultures, that is, by people whose music is syntactically and structurally distinct from that of the target culture. In sections VIII-IX, I examine and assess the cross-cultural studies that have been undertaken by psychologists. Most of these studies are compromised by methodological inadequ…Read more
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IntroductionIn Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and conceptual art, Oxford University Press. 2007.
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5Who's Afraid of Conceptual Art?Routledge. 2009.What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever? Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know…Read more
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166Philosophy and conceptual art (edited book)Oxford University Press. 2007.This volume is most probably the first collection of papers by analytic Anglo-American philosophers tackling these concerns head-on.
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5Narratives Denken, Emotion und PlanenIn Sonja Koroliov (ed.), Emotion und Kognition: Transformationen in der europäischen Literatur des 18. Jahrhunderts, De Gruyter. pp. 187-203. 2013.
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27Acknowledgement of external reviewers for 2002Phenomenology and the Cognitive Sciences 2 (95): 151-152. 2003.
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Emotion, reason and virtueIn Dylan Evans & Pierre Cruse (eds.), Emotion, Evolution, and Rationality, Oxford University Press. 2004.
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23The Aesthetic Mind: Philosophy and Psychology (edited book)Oxford University Press. 2011.The Aesthetic Mind breaks new ground in bringing together empirical sciences and philosophy to enhance our understanding of aesthetics and the experience of art.
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301Conceptual Art, Social Psychology, And DeceptionPostgraduate Journal of Aesthetics 1 (1): 32-41. 2004.Some works of conceptual art require deception for their appreciation—deception of the viewer of the work. Some experiments in social psychology equally require deception— deception of the participants in the experiment. There are a number of close parallels between the two kinds of deception. And yet, in spite of these parallels, the art world, artists, and philosophers of art, do not seem to be troubled about the deception involved, whereas deception is a constant source of worry for social ps…Read more
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Die Rezeption von Evolutionstheorien im 19. JahrhundertJournal of the History of Biology 32 (1): 225-229. 1999.
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33Narratives and Narrators: A Philosophy of Stories: Book Reviews (review)British Journal of Aesthetics 51 (3): 335-338. 2011.
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27Moral Emotions and Intuitions. By Sabine Roeser. (Basingstoke: Palgrave Macmillan, 2011. Pp. Xvii + 207. Price £55.)Philosophical Quarterly 62 (246): 204-206. 2012.
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1Emotion, personality and simulationIn Understanding Emotions: Mind and Morals, Brookfield: Ashgate. 2002.
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71Dramatic Irony, Narrative, and the External PerspectiveRoyal Institute of Philosophy Supplement 60 69-84. 2007.There is a frequently asked philosophical question about our ability to grasp and to predict the thoughts and feelings of other people, an ability that is these days sometimes given the unfortunate name of ‘mentalising’ or ‘mind-reading’–I say ‘unfortunate’ because it makes appear mysterious what is not mysterious. Some philosophers and psychologists argue that this ability is grounded in possession of some kind of theory or body of knowledge about how minds work. Others argue that it is grounde…Read more
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96Review. Paul E Griffiths. What Emotions Really Are: The Problem of Psychological Categories. Chicago and London, University of Chicago Press, 1997 (review)British Journal for the Philosophy of Science 49 (4): 642-648. 1998.
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3Narrative, emotion, and perspectiveIn Matthew Kieran & Dominic Lopes (eds.), Imagination, Philosophy and the Arts, Routledge. pp. 54--68. 2003.
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1153Thick concepts and their role in moral psychologyIn Robyn Langdon & Catriona Mackenzie (eds.), Emotions, Imagination, and Moral Reasoning, Psychology Press. 2012.
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10Book Review: John M. Doris, Lack of Character: Personality and Moral Behaviour (Cambridge: Cambridge University Press, 2002), x + 272 pp. ISBN 0521631165 (hbk). Hardback/ Paperback: £48.00/£16.99 (review)Journal of Moral Philosophy 4 (2): 289-291. 2007.
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46XII. Narrative and Perspective; Values and Appropriate EmotionsRoyal Institute of Philosophy Supplement 52 201-220. 2003.To the realists.—You sober people who feel well armed against passion and fantasies and would like to turn your emptiness into a matter of pride and ornament: you call yourselves realists and hint that the world really is the way it appears to you. As if reality stood unveiled before you only, and you yourselves were perhaps the best part of it … But in your unveiled state are not even you still very passionate and dark creatures compared to fish, and still far too similar to an artist in love? …Read more
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308Grief: A narrative accountRatio 24 (2): 119-137. 2011.Grief is not a kind of feeling, or a kind of judgement, or a kind of perception, or any kind of mental state or event the identity of which can be adequately captured at a moment in time. Instead, grief is a kind of process; more specifically, it is a complex pattern of activity and passivity, inner and outer, which unfolds over time, and the unfolding pattern over time is explanatorily prior to what is the case at any particular time. The pattern of a particular grieving is best understood and …Read more
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103The Oxford Handbook of Philosophy of Emotion (edited book)Oxford University Press. 2009.This Handbook presents thirty-one state-of-the-art contributions from the most notable writers on philosophy of emotion today. Anyone working on the nature of emotion, its history, or its relation to reason, self, value, or art, whether at the level of research or advanced study, will find the book an unrivalled resource and a fascinating read
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214Emotion, feeling, and knowledge of the worldIn Robert C. Solomon (ed.), Thinking About Feeling: Contemporary Philosophers on Emotions, Oxford University Press Usa. 2004.There is a view of the emotions (I might tendentiously call it ‘cognitivism’) that has at present a certain currency. This view is of the emotions as playing an essential role in our gaining evaluative knowledge of the world. When we are angry at an insult, or afraid of the burglar, our emotions involve evaluative perceptions and thoughts, which are directed towards the way something is in the world that impinges on our well-being, or on the well-being of those that matter to us. Without emotion…Read more
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154Towards a virtue theory of artBritish Journal of Aesthetics 47 (4): 372-387. 2007.In this paper I sketch a virtue theory of art, analogous to a virtue theory of ethics along Aristotelian lines. What this involves is looking beyond a parochial conception of art understood as work of art, as product, to include intentions, motives, skills, traits, and feelings, all of which can be expressed in artistic activity. The clusters of traits that go to make up the particular virtues of art production and of art appreciation are indeed virtues in part because, when they are expressed i…Read more
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2Conceptual art and knowledgeIn Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and conceptual art, Oxford University Press. pp. 157. 2007.
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108On personalityRoutledge. 2004.The pervasiveness of personality -- Good and bad people : a question of character -- The fragility of character -- Character, responsibility and circumspection -- personality, narrative and living a life.
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57Life, Fiction, and NarrativeIn Noël Carroll & John Gibson (eds.), Narrative, Emotion, and Insight, Pennsylvania State University Press. pp. 8. 2011.
Peter Goldie
Manchester
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ManchesterDepartment Of PhilosophySamuel Hall Chair In Philosophy
Areas of Interest
Philosophy of Mind |
Aesthetics |
Meta-Ethics |