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  1. Lying versus misleading, with language and pictures: the adverbial account.Manuel García-Carpintero - 2023 - Linguistics and Philosophy 46 (3):509-532.
    We intuitively make a distinction between _lying_ and _misleading_. On the explanation of this phenomenon favored here—the _adverbial_ account—the distinction tracks whether the content and its truth-committing force are literally conveyed. On an alternative _commitment_ account, the difference between lying and misleading is predicated instead on the strength of assertoric commitment. One lies when one presents with full assertoric commitment what one believes to be false; one merely misleads when one presents it without full assertoric commitment, by merely hinting or (...)
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  • Sugar and Spice, and Everything Nice: What Rough Heroines Tell Us about Imaginative Resistance.Adriana Clavel-Vazquez - 2018 - Journal of Aesthetics and Art Criticism 76 (2):201-212.
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  • Morality and Aesthetics of Food.Shen-yi Liao & Aaron Meskin - 2017 - In Anne Barnhill, Mark Budolfson & Tyler Doggett (eds.), The Oxford Handbook of Food Ethics. Oxford University Press. pp. 658-679.
    This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to its aesthetic value) and Carolyn Korsmeyer's food moralism (the (...)
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  • The Nature of the Interaction between Moral and Artistic Value.Moonyoung Song - 2018 - Journal of Aesthetics and Art Criticism 76 (3):285-295.
    This article aims to advance our understanding of the interaction between moral and artistic value by asking what it means that an artwork's moral virtue or defect is an artistic virtue or defect and how we can prove or disprove such a claim. I approach these questions first by distinguishing between intrinsic and contextual value interactions and then by examining two strategies commonly used to establish claims about contextual value interaction: (1) appealing to the counterfactual dependence of the work's artistic (...)
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