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  1. Crime and Punishment.Lindsay Farmer - 2020 - Criminal Law and Philosophy 14 (2):289-298.
    This is a review essay of Lagasnerie, Judge and Punish and Fassin, The Will to Punish. It explores the way that these two books challenge conventional thinking about the relationship between crime and punishment.
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  • Empathic engagement with narrative fictions.Amy Coplan - 2004 - Journal of Aesthetics and Art Criticism 62 (2):141–152.
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  • Philosophies of arts: an essay in differences.Peter Kivy - 1997 - New York: Cambridge University Press.
    Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us explore (...)
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  • Philosophies of Arts: An Essay in Differences.Peter Kivy - 1997 - Tijdschrift Voor Filosofie 60 (3):630-631.
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  • (1 other version)Reading with Feeling: The Aesthetics of Appreciation.Susan L. Feagin - 1998 - Philosophical Quarterly 48 (193):557-558.
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  • Reading with Feeling: The Aesthetics of Appreciation.Iris M. Yob & Susan L. Feagin - 1996 - Journal of Aesthetic Education 32 (4):116.
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  • Mood and music: Some reflections for noël Carroll.Peter Kivy - 2006 - Journal of Aesthetics and Art Criticism 64 (2):271–281.
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  • “See Me, Feel Me”: Two Modes of Affect Recognition for Real and Fictional Targets.Christiana Werner - 2020 - Topoi 39 (4):827-834.
    It is commonly presupposed that there are no decisive differences between empathy with fictional characters on one hand and empathy with real persons on the other. I distinguish two types of processes of affect recognition "Perceptual Affect Recognition" and "Affective Affect Recognition". The consensus view about empathy with fictional characters has to be challenged if "empathy" refers to the former or the latter process because of the significant differences between the fictional and the non-fictional scenario: firstly, readers as "empathizers" cannot (...)
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  • Emotion and the understanding of narrative.Jenefer Robinson - 2007 - In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Malden, MA: Wiley-Blackwell. pp. 69–92.
    This chapter contains sections titled: How to Read a Story What is Emotional Involvement? Processing a Narrative Interpretation as Reflection on Emotional Responses to a Text Why Be Emotionally Involved? Objections.
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  • Interpreting the Moving Image.Noël Carroll - 2002 - Film and Philosophy 5:172-179.
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