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Imagination

In Ed Zalta (ed.), Stanford Encyclopedia of Philosophy. Stanford Encyclopedia of Philosophy (2012)

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  1. Listening with imagination: is music representational?Kendall Walton - 1997 - In Jenefer Robinson (ed.), Music & meaning. Cornell University Press.
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  • Puzzling over the imagination: Philosophical problems, architectural solutions.Jonathan M. Weinberg & Aaron Meskin - 2006 - In Shaun Nichols (ed.), The Architecture of the Imagination: New Essays on Pretence, Possibility, and Fiction. Oxford University Press. pp. 175-202.
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  • Pretense and Imagination.Shen-yi Liao & Tamar Szabó Gendler - 2011 - Wiley Interdisciplinary Reviews 2 (1):79-94.
    Issues of pretense and imagination are of central interest to philosophers, psychologists, and researchers in allied fields. In this entry, we provide a roadmap of some of the central themes around which discussion has been focused. We begin with an overview of pretense, imagination, and the relationship between them. We then shift our attention to the four specific topics where the disciplines' research programs have intersected or where additional interactions could prove mutually beneficial: the psychological underpinnings of performing pretense and (...)
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  • Replication and Functionalism.Jane Heal - 2003 - In John Heil (ed.), Philosophy of Mind: A Guide and Anthology. Oxford University Press.
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  • On the aim of belief.J. David Velleman - manuscript
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  • Why Pretend?Peter Carruthers - 2006 - In Shaun Nichols (ed.), The Architecture of the Imagination: New Essays on Pretence, Possibility, and Fiction. Clarendon Press.
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  • Why Irony is Pretence.Gregory Currie - 2006 - In Shaun Nichols (ed.), The Architecture of the Imagination: New Essays on Pretence, Possibility, and Fiction. Clarendon Press.
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  • On the (so-called) puzzle of imaginative resistance.Kendall Lewis Walton - 2006 - In Shaun Nichols (ed.), The Architecture of the Imagination. Oxford University Press. pp. 137-148.
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  • Artistic expression and the hard case of pure music.Stephen Davies - 2006 - In Matthew Kieran (ed.), Contemporary debates in aesthetics and the philosophy of art. Blackwell.
    In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...)
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  • Genuine Rational Fictional Emotions.Tamar Szabó Gendler & Karson Kovakovich - 2006 - In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell. pp. 241-253.
    The “paradox of fictional emotions” involves a trio of claims that are jointly inconsistent but individually plausible. Resolution of the paradox thus requires that we deny at least one of these plausible claims. The paradox has been formulated in various ways, but for the purposes of this chapter, we will focus on the following three claims, which we will refer to respectively as the Response Condition, the Belief Condition and the Coordination Condition.
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  • Reading with Feeling: The Aesthetics of Appreciation.Susan L. Feagin - 1998 - Philosophical Quarterly 48 (193):557-558.
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  • Truth, Fiction and Literature: a Philosophical Perspective.Peter Lamarque & Stein Olsen - 1997 - Philosophical Quarterly 47 (187):241-243.
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  • Imagination: A Lens, Not a Mirror.Nick Wiltsher - 2019 - Philosophers' Imprint 19.
    The terms "imagination'' and "imaginative'' can be readily applied to a profusion of attitudes, experiences, activities, and further phenomena. The heterogeneity of the things to which they're applied prompts the thoughts that the terms are polysemous, and that there is no single, coherent, fruitful conception of imagination to be had. Nonetheless, much recent work on imagination ascribes implicitly to a univocal way of thinking about imaginative phenomena: the imitation theory, according to which imaginative experiences imitate other experiences. This approach is (...)
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  • Deeper than Reason. Emotion and its Role in Literature, Music and Art.Jenefer Robinson - 2005 - Tijdschrift Voor Filosofie 69 (1):188-189.
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  • Introduction to a Philosophy of Music.Peter Kivy - 2004 - Journal of Aesthetics and Art Criticism 62 (3):299-300.
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  • Simulation trouble.Shaun Gallagher - 2007 - Social Neuroscience 2 (3-4):353–365.
    I present arguments against both explicit and implicit versions of the simulation theory for intersubjective understanding. Logical, developmental, and phenomenological evidence counts against the concept of explicit simulation if this is to be understood as the pervasive or default way that we understand others. The concept of implicit (subpersonal) simulation, identified with neural resonance systems (mirror systems or shared representations), fails to be the kind of simulation required by simulation theory, because it fails to explain how neuronal processes meet constraints (...)
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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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  • Memory and consciousness.Endel Tulving - 1985 - Canadian Psychology 26:1-12.
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  • Review of Recreative Minds. [REVIEW]P. Carruthers - forthcoming - Notre Dame Philosophical Reviews.
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