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  1. (1 other version)A First Look at the Pornography/Civil Rights Ordinance.Melinda Vadas - 1987 - Journal of Philosophy 84 (9):487-511.
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  • (1 other version)Morals in Fiction and Fictional Morality.Kendall L. Walton & Michael Tanner - 1994 - Aristotelian Society Supplementary Volume 68 (1):27-66.
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  • Kant and the Experience of Freedom: Essays on Aesthetics and Morality.Paul Guyer - 1993 - New York: Cambridge University Press.
    This collection of essays by one of the preeminent Kant scholars of our time transforms our understanding of both Kant's aesthetics and his ethics. Guyer shows that at the very core of Kant's aesthetic theory, disinterestedness of taste becomes an experience of freedom and thus an essential accompaniment to morality itself. At the same time he reveals how Kant's moral theory includes a distinctive place for the cultivation of both general moral sentiments and particular attachments on the basis of the (...)
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  • Contingency, Irony, and Solidarity.Richard Rorty - 1989 - New York: Cambridge University Press.
    In this 1989 book Rorty argues that thinkers such as Nietzsche, Freud, and Wittgenstein have enabled societies to see themselves as historical contingencies, rather than as expressions of underlying, ahistorical human nature or as realizations of suprahistorical goals. This ironic perspective on the human condition is valuable on a private level, although it cannot advance the social or political goals of liberalism. In fact Rorty believes that it is literature not philosophy that can do this, by promoting a genuine sense (...)
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  • Philosophy of Art: A Contemporary Introduction.Noël Carroll - 1999 - New York: Routledge.
    _Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching (...)
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  • Aesthetic Education and Moral Refinement.Iredell Jenkins - 1968 - The Journal of Aesthetic Education 2 (3):21.
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  • Inconvenient Fictions: Literature and the Limits of Theory.Alex Neill - 1992 - Journal of Aesthetics and Art Criticism 50 (4):345-347.
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  • Aesthetics and the Good Life.Marcia Muelder Eaton - 1991 - Journal of Aesthetics and Art Criticism 49 (2):175-177.
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  • Experience as Art: Aesthetics in Everyday Life.Joseph H. Kupfer - 1983 - State University of New York Press.
    Joseph Kupfer removes aesthetics from the exclusive province of museums, concert halls, and the periphery of human interests to reveal the impact of aesthetic experience on daily living.
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  • Aesthetic essence.Marshall Cohen - 1964 - In Max Black (ed.), Philosophy in America. Ithaca: Routledge. pp. 115--33.
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  • The ethical criticism of art.Berys Gaut - 1998 - In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. New York: Cambridge University Press. pp. 182--203.
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  • Narratives and moral evaluation.Richard Eldridge - 1993 - Journal of Value Inquiry 27 (3-4):385-390.
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  • Beauty and Evil: The Case of Leni Riefenstahl's 'Triumph of the Will'.Mary Devereaux - 1998 - In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. New York: Cambridge University Press. pp. 227--256.
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  • Iris Murdoch on the Ethical Significance of Truth.Genevieve Lloyd - 1982 - Philosophy and Literature 6 (1-2):62-75.
    Iris murdoch claims that the ethical significance of truth links the goodness of good literature with moral goodness. Her philosophical formulations of this claim evoke the pervasive model of truth as correspondence between mental representations and a mind-Independent reality. This paper criticises these formulations and attempts to revise them in the light of murdoch's literary explorations of the moral force of truth, Especially in "the sacred and profane love machine".
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  • Tragedy and the Tender-Hearted.Aaron Ridley - 1993 - Philosophy and Literature 17 (2):234-245.
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  • A Philosophy of Mass Art.Noël Carroll - 1997 - Clarendon Press.
    Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.
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  • Art and Moral Knowledge.Cynthia A. Freeland - 1997 - Philosophical Topics 25 (1):11-36.
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  • Symposium: Vision and Choice in Morality.R. W. Hepburn & Iris Murdoch - 1956 - Aristotelian Society Supplementary Volume 30 (1):14 - 58.
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  • The Pleasures of Tragedy.Susan L. Feagin - 1983 - American Philosophical Quarterly 20 (1):95 - 104.
    I ARGUE THAT WE RECEIVE PLEASURE FROM TRAGEDIES BECAUSE WE ARE PLEASED TO FIND OURSELVES RESPONDING IN AN UNPLEASANT WAY TO HUMAN SUFFERING AND INJUSTICE. THE PLEASURE IS THUS A METARESPONSE, AND REFLECTS FEELINGS WHICH ARE AT THE BASIS OF MORALITY. THIS HELPS EXPLAIN WHY TRAGEDY IS SUPPOSED TO BE A HIGHER ART FORM THAN COMEDY, AND PROVIDES A NEW WAY OF SEEING THE RELATIONSHIP BETWEEN THE MORALITY OF AN ARTWORK AND ITS VALUE.
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  • Plato and the Mass Media.Alexander Nehamas - 1988 - The Monist 71 (2):214-234.
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  • Martha Nussbaum and the Need for Novels.Cora Diamond - 1993 - Philosophical Investigations 16 (2):128-153.
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  • Literature and Knowledge.Catherine Wilson - 1983 - Philosophy 58 (226):489 - 496.
    There is probably no subject in the philosophy of art which has prompted more impassioned theorizing than the question of the ‘cognitive value’ of works of art. ‘In the end’, one influential critic has stated, ‘I do not distinguish between science and art except as regards method. Both provide us with a view of reality and both are indispensable to a complete understanding of the universe.’ If a man is not prepared to distinguish between science and art one may well (...)
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  • The Elusiveness of Moral Recognition and the Imaginary Place of Fiction.David K. Glidden - 1991 - Midwest Studies in Philosophy 16 (1):123-141.
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  • Aesthetic Derogation: Hate Speech, Pornography, and Aesthetic Contexts,.Lynne Tirrell - 1998 - In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. New York: Cambridge University Press.
    Derogatory terms (racist, sexist, ethnic epithets) have long played various roles and achieved diverse ends in works of art. Focusing on basic aspects of an aesthetic object or work, this article examines the interpretive relation between point of view and content, asking how aesthetic contextualization shapes the impact of such terms. Can context, particularly aesthetic contexts, detach the derogatory force from powerful epithets and racist and sexist images? What would it be about aesthetic contexts that would make this possible? The (...)
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  • Aesthetics.Monroe C. Beardsley - 1958 - New York,: Harcourt, Brace.
    This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work.
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  • Literature and knowledge.Dorothy Walsh - 1969 - Middletown, Conn.,: Wesleyan University Press.
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  • (1 other version)Morals in Fiction and Fictional Morality (I).Kendall Lewis Walton - 2015 [1994] - Proceedings of the Aristotelian Society 68:27-50.
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  • Art and the aesthetic: an institutional analysis.George Dickie - 1974 - Ithaca, N.Y.: Cornell University Press.
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  • The aesthetic understanding: essays in the philosophy of art and culture.Roger Scruton - 1983 - South Bend, Ind.: St. Augustine's Press.
    Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as an introduction (...)
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  • Images of excellence: Plato's critique of the arts.Christopher Janaway - 1995 - New York: Oxford University Press.
    This original new book argues for a reassessment of Plato's challenge to the arts. Plato was the first great figure in Western philosophy to assess the value of the arts; he argued in the Republic that traditionally accepted forms of poetry, drama, and music are unsound. While this view has been widely rejected, Janaway argues that Plato's hostile case is a more coherent and profound challenge to the arts than has sometimes been supposed. Denying that Plato advocates "good art" in (...)
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  • The scandal of pleasure: art in an age of fundamentalism.Wendy Steiner - 1995 - Chicago: University of Chicago Press.
    Surveying a wide range of cultural controversies, from the Mapplethorpe affair to Salman Rushdie's death sentence, from canon-revision in the academy to the scandals that have surrounded Anthony Blunt, Martin Heidegger, and Paul de Man, Wendy Steiner shows that the fear and outrage they inspired are the result of dangerous misunderstanding about the relationship between art and life. "Stimulating. . . . A splendid rebuttal of those on the left and right who think that the pleasures induced by art are (...)
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  • Truth, fiction, and literature: a philosophical perspective.Peter Lamarque & Stein Haugom Olsen - 1994 - New York: Oxford University Press. Edited by Stein Haugom Olsen.
    This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...)
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  • Love's knowledge: essays on philosophy and literature.Martha Craven Nussbaum - 1990 - New York: Oxford University Press.
    This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy. The papers, many of them previously inaccessible to non-specialist readers, explore such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding which involves (...)
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  • (1 other version)Mimesis as make-believe: on the foundations of the representational arts.Kendall L. Walton - 1990 - Cambridge: Harvard University Press.
    Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
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  • The fire and the sun: why Plato banished the artists.Iris Murdoch - 1977 - New York: Viking Press.
    The novelist blends philosophy and metaphysics to examine the nature and origin of Plato's hostile views toward art and its role in life.
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  • Knowledge, fiction & imagination.David Novitz - 1987 - Philadelphia: Temple University Press.
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  • Of the standard of taste.David Hume - 1875 - In Essays, Moral, Political, and Literary. Indianapolis: Liberty Press. pp. 226-249.
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  • Integrating the aesthetic and the moral.Marcia Muelder Eaton - 1992 - Philosophical Studies 67 (3):219 - 240.
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  • I: A lecture on ethics.Ludwig Wittgenstein - 1965 - Philosophical Review 74 (1):3-12.
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  • (1 other version)A first look at the pornography/civil rights ordinance: Could pornography be the subordination of women?Melinda Vadas - 1987 - Journal of Philosophy 84 (9):487-511.
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  • Storytelling and moral agency.Lynne Tirrell - 1990 - Journal of Aesthetics and Art Criticism 48 (2):115-126.
    The capacity for telling stories is necessary for being moral agents. The minimal necessary features for moral agency involve the capacities necessary for articulation, and articulation is a key part of what we learn and practice through telling stories. Developing the interdependence between agency and articulation, this article offers an account of both categorical moral agency and a degree-of-sophistication account of agency. Central to these are three factors: a moral agent has (1) the capacity to represent, (2) a sense of (...)
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  • On the cognitive triviality of art.Jerome Stolnitz - 1992 - British Journal of Aesthetics 32 (3):191-200.
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  • (1 other version)On kitsch and sentimentality.Robert C. Solomon - 1991 - Journal of Aesthetics and Art Criticism 49 (1):1-14.
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  • No ethics, no text.Victor Yelverton Haines - 1989 - Journal of Aesthetics and Art Criticism 47 (1):35-42.
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  • Aesthetics: The mother of ethics?Marcia Muelder Eaton - 1997 - Journal of Aesthetics and Art Criticism 55 (4):355-364.
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  • Art and goodness: Collingwood's aesthetics and Moore's ethics compared.T. J. Diffey - 1985 - British Journal of Aesthetics 25 (2):185-198.
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  • Moderate moralism.Noël Carroll - 1996 - British Journal of Aesthetics 36 (3):223-238.
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  • Moderate moralism versus moderate autonomism.Noel Carroll - 1998 - British Journal of Aesthetics 38 (4):419-424.
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  • Moderate autonomism.James C. Anderson & Jeffrey T. Dean - 1998 - British Journal of Aesthetics 38 (2):150-166.
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  • Against ethical criticism.Richard A. Posner - 1997 - Philosophy and Literature 21 (1):1-27.
    In lieu of an abstract, here is a brief excerpt of the content:Against Ethical CriticismRichard A. PosnerOscar Wilde famously remarked that “there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” He was echoed by Auden, who said in his poem in memory of William Butler Yeats that poetry makes nothing happen (though the poem as a whole qualifies this overstatement), by Croce, and by formalist critics such as (...)
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