Philosophical Perspectives on Art

Philosophical Perspectives on Art

Volumn , Issue , 2010, Pages 1-288

  Davies, Stephen ^a  

^a UNIVERSITY OF AUCKLAND   (New Zealand)

Author keywords

Aesthetics; Appreciation; Artworks; Definition of art; Interpretation; Interpretative evaluations

Indexed keywords

EID: 70349481515     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1093/acprof:oso/9780199202423.001.0001     Document Type: Book

References (340)

1. Adajian, Thomas (2003). The Cluster Account of Art. British Journal of Aesthetics, 43: 379-85.
2. Aiken, N. E. (1998). The Biological Origins of Art. Westport, CT: Praeger.
3. Alison, Henry (2001). Kant's Theory of Taste. Cambridge: Cambridge University Press.
4. Alston, William P. (1965). Expressing. In M. Black (ed.), Philosophy in America. London: Allen & Unwin, 15-34.
5. Anderson, James C. (2000). Aesthetic Concepts of Art. In N. Carroll (ed.), Theories of Art Today. Madison: University of Wisconsin Press, 65-92.
6. Anderson, Richard L. (1990). Calliope's Sisters: A Comparative Study of Philosophies of Art. Englewood Cliffs, NJ: Prentice Hall.
7. Bache, C. M. (1980). Towards a Unified Theory of Metaphor. Journal of Aesthetics and Art Criticism, 34: 185-93.
8. Barnes, Annette (1976). Half an Hour Before Breakfast. Journal of Aesthetics and Art Criticism, 34: 261-71.
9. Barnes, Annette (1988). On Interpretation: A Critical Analysis. Oxford: Basil Blackwell.
10. Barrett, Cyril (1973). Are Bad Works of Art Works of Art? Royal Institute of Philosophy Lectures, 6: 182-93.
11. Baxter, Brian (1983). Conventions and Art. British Journal of Aesthetics, 23: 319-32.
12. Beardsley, Monroe C. (1958). Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace & World.
13. Beardsley, Monroe C. (1962a). On the Generality of Critical Reasons. Journal of Aesthetics and Art Criticism, 59: 477-86.
14. Beardsley, Monroe C. (1962b). The Metaphorical Twist. Philosophy and Phenomenological Research, 22: 293-307.
15. Beardsley, Monroe C. (1967). Metaphor. In P. Edwards (ed.), The Encyclopedia of Philosophy, New York: Macmillan & the Free Press, vol. 5, 284-9.
16. Beardsley, Monroe C. (1970). The Possibility of Criticism. Detroit: Wayne State University Press.
17. Beardsley, Monroe C. (1978). Some Problems of Critical Interpretation: A Commentary. Journal of Aesthetics and Art Criticism, 36: 351-60.
18. Beardsley, Monroe C. (1979). In Defense of Aesthetic Value. Proceedings and Addresses of the American Philosophical Association, 52: 723-49.
19. Beardsley, Monroe C. (1982). In M. J. Wreen and D. M. Callen (eds.).The Aesthetic Point of View. Ithaca: Cornell University Press.
20. Beardsley, Monroe C. (1983). An Aesthetic Definition of Art. In H. Curtler (ed.), What Is Art? New York: Haven, 15-29.
21. Bedford, Errol (1957). Emotions. Proceedings of the Aristotelian Society, 57: 281-304.
22. Berlyne, Daniel E. (1971). Aesthetics and Psychobiology. New York: Appleton-Century-Crofts.
23. Black, Max (1955). Metaphor. Proceedings of the Aristotelian Society, 55: 273-94.
24. Black, Max (1979a). How Metaphors Work: A Reply to Donald Davidson. In S. Sacks (ed.), On Metaphor. Chicago: Chicago University Press, 181-92.
25. Black, Max (1979b). More About Metaphor. In A. Ortony (ed.), Metaphor and Thought. Cambridge: Cambridge University Press, 19-43.
26. Black, Max (1991). Is Primitive Art Art? Journal of Aesthetic Education, 25 (4): 87-97.
27. Black, Max (1993). The Aesthetics of Primitive Art. Lanham, MD: University Press of America.
28. Bond, E. J. (1975). The Essential Nature of Art. American Philosophical Quarterly, 12: 177-83.
29. Borges, Jorge Luis (1991). Pierre Menard, Author of Don Quixote. In A. Kerrigan (ed.), Fictions. Trans. A. Bonner. London: Calder Publications, 42-51. First published 1939.
30. Bouwsma, O. K. (1950). The Expression Theory of Art. In M. Black (ed.), Philosophical Analysis. Englewood Cliffs, NJ: Prentice-Hall, 71-96.
31. Brand, Peggy Zeglin (1982). Lord, Lewis and the Institutional Theory of Art. Journal of Aesthetics and Art Criticism, 40: 309-14.
32. Brand, Peggy Zeglin (1999). Beauty Matters. Journal of Aesthetics and Art Criticism, 57: 1-10.
33. Brand, Peggy Zeglin (ed.) (2000). Beauty Matters. Bloomington: University of Indiana Press.
34. Budd, Malcolm (1995). Values of Art: Pictures, Poetry, and Music. London: Allen Lane, The Penguin Press.
35. Buss, D. M. (1994). The Evolution of Desire: Strategies of Human Mating. New York: Basic Books.
36. Carney, James D. (1991). The Style Theory of Art. Pacific Philosophical Quarterly, 72: 272-89.
37. Carney, James D. (1994). Defining Art Externally. British Journal of Aesthetics, 34: 114-23.
38. Carroll, Noël (1986). Art and Interaction. Journal of Aesthetics and Art Criticism, 45: 57-68.
39. Carroll, Noël (1988). Art, Practice, and Narrative, Monist, 71: 140-56.
40. Carroll, Noël (1990a). Review Essay of Arthur Danto's The Transfiguration of the Commonplace, The Philosophical Disenfranchisement of Art, and The State of the Art. History and Theory, 29: 111-24.
41. Carroll, Noël (1990b). Interpretation, History and Narrative. Monist, 73: 134-66.
42. Carroll, Noël (1992). Art, Intention, and Conversation. In G. Iseminger (ed.), Interpretation, Intention, and Truth. Philadelphia: Temple University Press, 97-131.
43. Carroll, Noël (1993a). Historical Narratives and the Philosophy of Art. Journal of Aesthetics and Art Criticism, 51: 313-26.
44. Carroll, Noël (1993b). Anglo-American Aesthetics and Contemporary Criticism: Intention and the Hermeneutics of Suspicion. Journal of Aesthetics and Art Criticism, 51: 245-52.
45. Carroll, Noël (1993c) Essence, Expression, and History: Arthur Danto's Philosophy of Art. In M. Rollins (ed.), Arthur Danto and His Critics. Oxford: Basil Blackwell, 79-106.
46. Carroll, Noël (1994). Identifying Art. In R. J. Yanal (ed.), Institutions of Art: Reconsiderations of George Dickie's Philosophy. University Park: Pennsylvania State University Press, 3-38.
47. Carroll, Noël (1997a). Danto, Art, and History. In A. Haapala, J. Levinson, and V. Rantala (eds.), The End of Art and Beyond: Essays after Danto. Atlantic Highlands, NJ: Humanities Press, 30-45.
48. Carroll, Noël (1997b). The Intentional Fallacy: Defending Myself. Journal of Aesthetics and Art Criticism, 55: 305-9.
49. Carroll, Noël (1998). A Philosophy of Mass Art. New York: Oxford University Press.
50. Carroll, Noël (1999). Philosophy of Art: A Contemporary Introduction. New York: Routledge.
51. Carroll, Noël (2000a). Art and the Domain of the Aesthetic. British Journal of Aesthetics, 40: 191-208.
52. Carroll, Noël (2000b). Interpretation and Intention: the Debate between Hypothetical and Actual Intentionalists. In J. Margolis and T. Rockmore (eds.), The Philosophy of Interpretation. Oxford: Blackwell, 75-95.
53. Carroll, Noël (2006). Aesthetic Experience: A Question of Content. In M. Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Oxford: Blackwell Publishing, 69-96.
54. Casey, Edward S. (1971). Expression and Communication in Art. Journal of Aesthetics and Art Criticism, 30: 197-207.
55. Cavell, Stanley (1969). Music Discomposed. In Must We Mean What We Say? New York: Scribner, 180-212.
56. Child, Irvin L. and Siroto, L. (1965). BaKwele and American Esthetic Evaluations Compared. Ethnology, 4: 349-60.
57. Cohen, L. J. (1979). The Semantics of Metaphor. In A. Ortony (ed.), Metaphor and Thought. Cambridge: Cambridge University Press, 64-77.
58. Cohen, Ted (1973). The Possibility of Art: Remarks on a Proposal by Dickie. Philosophical Review, 82: 69-82.
59. Cohen, Ted (1979). Metaphor and the Cultivation of Intimacy. In S. Sacks (ed.), On Metaphor. Chicago: Chicago University Press, 1-10.
60. Collingwood, Robin C. (1963). Principles of Art. Oxford: Clarendon Press. First published 1938.
61. Crawford, Donald (1974). Kant's Aesthetic Theory. Madison: University of Wisconsin Press.
62. Crowley, Daniel J. (1966). An African Aesthetic. Journal of Aesthetics and Art Criticism, 24: 519-24.
63. Cummins, Robert (1975). Functional Analysis. Journal of Philosophy, 72: 741-64.
64. Currie, Gregory (1990). The Nature of Fiction. Cambridge: Cambridge University Press.
65. Currie, Gregory (1991). Work and Text. Mind, 100: 325-40.
66. Currie, Gregory (1993). Interpretation and Objectivity. Mind, 102: 413-28.
67. Danto, Arthur C. (1964). The Artworld. Journal of Philosophy, 61: 571-84.
68. Danto, Arthur C. (1973). Artworks and Real Things. Theoria, 39: 1-17.
69. Danto, Arthur C. (1981). The Transfiguration of the Commonplace. Cambridge, MA: Harvard University Press.
70. Danto, Arthur C. (1984). The End of Art. In B. Lang (ed.), The Death of Art. New York: Haven, 5-35.
71. Danto, Arthur C. (1986). The Philosophical Disenfranchisement of Art. New York: Columbia University Press.
72. Danto, Arthur C. (1987). The State of the Art. New York: Prentice Hall.
73. Danto, Arthur C. (1990). Encounters and Reflections: Art in the Historical Present. New York: Farrar Straus Giroux.
74. Danto, Arthur C. (1991). Narrative and Style. Journal of Aesthetics and Art Criticism, 49: 201-9.
75. Danto, Arthur C. (1992). Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective. New York: Farrar Straus Giroux.
76. Danto, Arthur C. (1993). Responses and Replies. In M. Rollins (ed.), Arthur Danto and His Critics. Oxford: Basil Blackwell, 193-216.
77. Danto, Arthur C. (1994). Embodied Meanings. New York: Farrar Straus Giroux.
78. Danto, Arthur C. (1997). After the End of Art: Contemporary Art and the Pale of History. Princeton: Princeton University Press.
79. Davenport, William H. (1968). Sculpture of the Solomon Islands. Expedition, 10: 4-25.
80. Davenport, William H. (1986). Two Kinds of Value in the Eastern Solomon Islands. In A. Appadurai (ed.), The Social Life of Things: Commodities in Cultural Perspective. Cambridge: Cambridge University Press, 95-109.
81. Davidson, Donald (1979). What Metaphors Mean. In S. Sacks (ed.), On Metaphor. Chicago: Chicago University Press, 29-45.
82. Davies, Stephen (1980). The Expression of Emotion in Music. Mind, 89: 67-86.
83. Davies, Stephen (1982). The Relevance of Authors' and Painters' Intentions. Journal of Aesthetics and Art Criticism, 40: 65-76.
84. Davies, Stephen (1983a). The Rationality of Aesthetic Responses. British Journal of Aesthetics, 23: 38-47.
85. Davies, Stephen (1983b). Is Music a Language of the Emotions? British Journal of Aesthetics, 23: 222-33.
86. Davies, Stephen (1984). Truth-Values and Metaphors. Journal of Aesthetics and Art Criticism, 42: 291-302.
87. Davies, Stephen (1986). The Expression Theory Again. Theoria, 52: 146-67.
88. Davies, Stephen (1987). The Evaluation of Music. In P. Alperson (ed.), What Is Music? An Introduction to the Philosophy of Music. New York: Haven, 307-25. (This book was reprinted in 1994 by Pennsylvania State University Press.)
89. Davies, Stephen (1988a). A Defense of the Institutional Definition of Art. Southern Journal of Philosophy, 26: 307-24.
90. Davies, Stephen (1988b). True Interpretations. Philosophy and Literature, 12: 290-7.
91. Davies, Stephen (1990a). Replies to Arguments Suggesting that Critics' Strong Evaluations Could Not Be Soundly Deduced. Grazer Philosophische Studien, 38: 157-75.
92. Davies, Stephen (1990b). A Response to McFee's Response. Grazer Philosophische Studien, 38: 185-6.
93. Davies, Stephen (1990c). Functional and Procedural Definitions of Art. Journal of Aesthetic Education, 24(2): 99-106.
94. Davies, Stephen (1991). Definitions of Art. Ithaca: Cornell University Press.
95. Davies, Stephen (1994a). General Theories of Art versus Music. British Journal of Aesthetics, 34:315-25.
96. Davies, Stephen (1994b). Is Architecture an Art? In M. Mitias (ed.), Philosophy and Architecture, Amsterdam: Rodopi, 31-47.
97. Davies, Stephen (1995). Relativism in Interpretation. Journal of Aesthetics and Art Criticism, 53: 8-13.
98. Davies, Stephen (1996). Interpreting Contextualities. Philosophy and Literature, 20: 20-38.
99. Davies, Stephen (1997). First Art and Art's Definition. Southern Journal of Philosophy, 35: 19-34.
100. Davies, Stephen (2000). Non-Western Art and Art's Definition. In N. Carroll (ed.), Theories of Art Today. Madison: University of Wisconsin Press, 199-216.
101. Davies, Stephen (2001). Una improbable última paraula sobre la mort de l'art. Enrahonar: Quaderns de Filosofia, 32/33: 191-201. (Trans. Gerard Vilar.)
102. Davies, Stephen (2003). Essential Distinctions for Art Theorists. In S. Davies and A. C. Sukla (eds.), Art and Essence. Westport, CT: Praeger, 3-16.
103. Davies, Stephen (2004). The Cluster Theory of Art. British Journal of Aesthetics, 44: 297-300.
104. Davies, Stephen (2005). Ellen Dissanayake's Evolutionary Aesthetic. Biology and Philosophy, 20: 291-304.
105. Davies, Stephen (2006a). The Philosophy of Art. Oxford: Blackwell Publishing.
106. Davies, Stephen (2006b). Aesthetic Judgments, Artworks, and Functional Beauty. Philosophical Quarterly, 56: 224-41.
107. Davies, Stephen (2006c). Authors' Intentions, Literary Interpretation, and Literary Value, British Journal of Aesthetics. 46: 223-47.
108. Dempster, Douglas (1985). Aesthetic Experience and Psychological Definitions of Art. Journal of Aesthetics and Art Criticism, 44: 153-65.
109. Dewey, John (1934). Art as Experience. New York: Minton, Balch & Co.
110. Dickie, George (1964). The Myth of the Aesthetic Attitude. American Philosophical Quarterly, 1: 56-65.
111. Dickie, George (1974). Art and the Aesthetic: An Institutional Analysis. Ithaca: Cornell University Press.
112. Dickie, George (1984). The Art Circle: A Theory of Art. New York: Haven.
113. Dickie, George (1985). Evaluating Art. British Journal of Aesthetics, 25: 3-16.
114. Dickie, George (1987). Beardsley, Sibley, and Critical Principles. Journal of Aesthetics and Art Criticism, 46: 229-37.
115. Dickie, George (1988). Evaluating Art. Philadelphia: Temple University Press.
116. Dickie, George (1994). Two Trends in Recent Western Aesthetics: Art and Its Experience. Proceedings of the International Symposium of Aesthetics. Museum Auditorium, Seoul National University, 1-29.
117. Dickie, George (1997). Art: Function or Procedure-Nature or Culture? Journal of Aesthetics and Art Criticism, 55: 19-28.
118. Dickie, George and Wilson, W. Kent (1995). The Intentional Fallacy: Defending Beardsley. Journal of Aesthetics and Art Criticism, 53: 233-50.
119. Diffey, Terry (1979). On Defining Art. British Journal of Aesthetics, 19: 15-23.
120. Dissanayake, Ellen (1988). What Is Art For? Seattle: University of Washington Press.
121. Dissanayake, Ellen (1995). Homo Aestheticus: Where Art Comes From and Why. Seattle: University of Washington Press.
122. Dissanayake, Ellen (1998). Komar and Melamid Discover Pleistocene Taste. Philosophy and Literature, 22: 486-96.
123. Dissanayake, Ellen (2000). Art and Intimacy: How the Arts Began. Seattle: University of Washington Press.
124. Ducasse, Curt J. (1929). The Philosophy of Art. New York: Dial Press.
125. Ducasse, Curt J. (1964). Art and the Language of the Emotions. Journal of Aesthetics and Art Criticism, 23: 109-12.
126. Dutton, Denis (1977a). Art, Behavior, and the Anthropologists. Current Anthropology, 18:387-94.
127. Dutton, Denis (1977b). Plausibility and Aesthetic Appreciation. Canadian Journal of Philosophy, 7:327-40.
128. Dutton, Denis (1988). Why Intentionalism Won't Go Away. In A. J. Cascardi (ed.), Literature and the Question of Philosophy. Baltimore: Johns Hopkins University Press, 194-209.
129. Dutton, Denis (1993). Tribal Art and Artifact. Journal of Aesthetics and Art Criticism, 51: 13-21.
130. Dutton, Denis (1994a). Authenticity in the Art of Traditional Societies. Pacific Arts, 9/10: 1-9.
131. Dutton, Denis (1994b). Kant and the Conditions of Artistic Beauty. British Journal of Aesthetics, 34:226-41.
132. Dutton, Denis (1995). Mythologies of Tribal Art. African Arts, 28: 32-43, 90-91.
133. Dutton, Denis (2000). "But They Don't Have our Concept of Art". In N. Carroll (ed.), Theories of Art Today. Madison: University of Wisconsin Press, 217-38.
134. Dutton, Denis (2001). Aesthetic Universals. In B. Gaut and D. Lopes (eds.), The Routledge Companion to Aesthetics. London: Routledge, 203-14.
135. Dutton, Denis (2003). Universalism, Evolutionary Psychology, and Aesthetics. In S. Davies and A. C. Sukla (eds.), Art and Essence. Westport, CT: Praeger, 212-26.
136. Dziemidok, Bohdan (1988). Controversy About the Aesthetic Nature of Art. British Journal of Aesthetics, 28: 1-17.
137. Eaton, Marcia Muelder (1999). Kantian and Contextual Beauty. Journal of Aesthetics and Art Criticism, 57: 11-15.
138. Elliott, R. K. (1967). Aesthetic Theory and the Experience of Art. Proceedings of the Aristotelian Society, 67: 111-26.
139. Errington, Shelly (1994). What Became Authentic Primitive Art? Cultural Anthropology, 9:201-26.
140. Etcoff, Nancy (1999). Survival of the Prettiest: The Science of Beauty. New York:Doubleday.
141. Fabian, Johannes (1983). Time and the Other: How Anthropology Makes Its Object. New York: Columbia University Press.
142. Feagin, Susan L. (1982). Incompatible Interpretations of Art. Philosophy and Literature, 6: 133-46.
143. Feagin, Susan L. (1987). Paintings and their Place. Australasian Journal of Philosophy, 73: 260-8.
144. Fernandez, James W. (1966). Principles of Opposition and Vitality in Fang Aesthetics. Journal of Aesthetics and Art Criticism, 25: 53-64.
145. Fisher, John (1984). Entitling. Critical Inquiry, 11: 286-98.
146. Fisher, John Andrew (1995). Is There a Problem of Indiscernible Counterparts? Journal of Philosophy, 92: 467-84.
147. Galton, Francis (1911). Inquiries into Human Faculty and its Development. London:Dutton & Co. First published 1883.
148. Gaut, Berys (2000). "Art" as a Cluster Concept. In N. Carroll (ed.), Theories of Art Today. Madison: University of Wisconsin Press, 25-44.
149. Gaut, Berys (2005). The Cluster Account of Art Defended. British Journal of Aesthetics, 45: 273-88.
150. Gell, Alfred (1992). The Technology of Enchantment and the Enchantment of Technology. In J. Coote and A. Shelton (eds.), Anthropology, Art, and Aesthetics. Oxford: Clarendon Press, 40-63.
151. Goldman, Alan H. (1990a). Aesthetic Qualities and Aesthetic Value. Journal of Philosophy, 87: 23-37.
152. Goldman, Alan H. (1990b). Interpreting Art and Literature. Journal of Aesthetics and Art Criticism, 48:205-14.
153. Goldman, Alan H. (1991). Response to Stecker. Journal of Aesthetics and Art Criticism, 49: 246-7.
154. Goldman, Alan H. (1993). Representation and Make-believe. Inquiry, 36: 335-50.
155. Gombrich, Ernst (1963). Meditations on a Hobbyhorse. London: Phaidon.
156. Gombrich, Ernst (1969). Art and Illusion. 2nd edn. Princeton: Princeton University Press.
157. Goodman, Nelson (1968). Languages of Art. New York: Bobbs-Merrill.
158. Goodman, Nelson (1979). Metaphor as Moonlighting. In S. Sacks (ed.), On Metaphor. Chicago: Chicago University Press, 175-80.
159. Graburn, Nelson (1976). Introduction. In N. Graburn (ed.), Ethnic and Tourist Arts:Cultural Expressions from the Fourth World. Berkeley: University of California Press, 3-4.
160. Grice, H. P. (1957). Meaning. Philosophical Review, 66: 377-88.
161. Guyer, Paul (1997). Kant and the Claims of Taste. Cambridge: Cambridge University Press.
162. Guyer, Paul (1999). Dependent Beauty Revisited: A Reply to Wicks. Journal of Aesthetics and Art Criticism, 57: 357-61.
163. Guyer, Paul (2002). Free and Adherent Beauty: A Modest Proposal. British Journal of Aesthetics, 42: 357-66.
164. Hare, Peter H. (1972). Feeling, Imaging and Expression Theory. Journal of Aesthetics and Art Criticism, 30: 343-50.
165. Harries, Karsten (1979). Metaphor and Transcendence. In S. Sacks (ed.), On Metaphor. Chicago: Chicago University Press, 71-88.
166. Hawkes, Terence (1972). Metaphor. London: Methuen.
167. Hegel, G. W. F. (1975). Aesthetics: Lectures on the Fine Arts. Trans. T. M. Know. Oxford:Oxford University Press. Compiled from lecture notes, 1823-9.
168. Hein, Hilde (1997). The News of Art's Death Has Been Greatly Exaggerated. In A. Haapala, J. Levinson, and V. Rantala (eds.), The End of Art and Beyond: Essays after Danto. Atlantic Highlands, NJ: Humanities Press, 46-60.
169. Henle, Paul (1958). Metaphor. In P. Henle (ed.), Language, Thought and Culture. Ann Arbor: University of Michigan Press, 173-95.
170. Hepburn, Ronald W. (1960-1). Emotions and Emotional Qualities: Some Attempts at Analysis. British Journal of Aesthetics, 1: 255-65.
171. Higgins, Kathleen M. (1996). Whatever Happened to Beauty? A Response to Danto. Journal of Aesthetics and Art Criticism, 54: 281-4.
172. Hirsch Jr., E. D. (1967). Validity in Interpretation. New Haven: Yale University Press.
173. Hobbes, Thomas (1962). Leviathan. Ed. M. Oakeshott. New York: Collier. First published 1651.
174. Hospers, John (1955). The Concept of Artistic Expression. Proceedings of the Aristotelian Society, 55: 313-44.
175. Humble, P. N. (1984). The Philosophical Challenge of Avant-garde Art. British Journal of Aesthetics, 24: 119-28.
176. Hume, David (1978). A Treatise of Human Nature, ed. L. A. Selby-Bigge, revised P. H. Nidditch. Oxford: Clarendon Press.
177. Irwin, William (1999). Intentionalist Interpretation: A Philosophical Explanation and Defence. Westport, CT: Greenwood Press.
178. Iseminger, Gary (1992). Art Intentional Demonstration? In G. Iseminger (ed.), Interpretation, Intention, and Truth. Philadelphia: Temple University Press, 76-96.
179. Iseminger, Gary (1996). Actual Intentionalism vs. Hypothetical Intentionalism. Journal of Aesthetics and Art Criticism, 54: 319-26.
180. Iseminger, Gary (1998). Interpretive Relevance, Contradiction, and Compatibility with the Text: A Rejoinder to Knight. Journal of Aesthetics and Art Criticism, 56: 58-61.
181. Iseminger, Gary (2004). The Aesthetic Function of Art. Ithaca: Cornell University Press.
182. Iseminger, Gary (2006). The Aesthetic State of Mind. In M. Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Oxford: Blackwell Publishing, 99-110.
183. Isenberg, Arnold (1949). Critical Communication. Philosophical Review, 58: 330-44.
184. Kant, Immanuel (1951). Critique of Judgment. Trans. J. H. Bernard. New York: Haffner. First published 1790.
185. Karpeles, Maud (1951). Some Reflections on Authenticity in Folk Music. Journal of the International Folk Music Council, 3: 10-14.
186. Kasfir, Sidney (1992). African Art and Authenticity: A Text without a Shadow. African Arts, 25: 41-53.
187. Kennick, W. E. (1958). Does Traditional Aesthetics Rest on a Mistake? Mind, 67: 317-34.
188. Kenny, Anthony (1963). Action, Emotion and Will. London: Routledge & Kegan Paul.
189. Khatchadourian, Haig (1965). The Expression Theory of Art. Journal of Aesthetics and Art Criticism, 23: 335-52.
190. Kivy, Peter (1980). The Corded Shell: Reflections on Musical Expression. Princeton:Princeton University Press.
191. Kivy, Peter (1997). Philosophies of Arts: An Essay in Differences. New York: Cambridge University Press.
192. Knapp, Steven and Michaels, Walter Benn (1982). Against Theory. Critical Inquiry, 8: 723-42.
193. Knapp, Steven and Michaels, Walter Benn (1987). Against Theory 2: Hermeneutics and Deconstruction. Critical Inquiry, 14:49-68.
194. Krausz, Michael (1992). Intention and Interpretation: Hirsch and Margolis. In G. Iseminger (ed.), Interpretation, Intention, and Truth. Philadelphia: Temple University Press, 152-66.
195. Krausz, Michael (1993). Rightness and Reasons: Interpretation in Cultural Practices. Ithaca: Cornell University Press.
196. Lamarque, Peter (1992). Appreciation and Literary Interpretation. In M. Krausz (ed.), Is There a Single Right Interpretation? University Park: Pennsylvania State University Press, 285-306.
197. Leddy, Tom (1993). The Socratic Quest in Art and Philosophy. Journal of Aesthetics and Art Criticism, 51: 399-410.
198. Levin, S. R. (1979). Standard Approaches and Literary Metaphors. In A. Ortony (ed.), Metaphor and Thought. Cambridge: Cambridge University Press, 124-35.
199. Levinson, Jerrold (1979). Defining Art Historically. British Journal of Aesthetics, 19: 232-50.
200. Levinson, Jerrold (1980). Aesthetic Uniqueness. Journal of Aesthetics and Art Criticism, 38: 435-48.
201. Levinson, Jerrold (1985). Titles. Journal of Aesthetics and Art Criticism, 44: 29-39.
202. Levinson, Jerrold (1988). Artworks and the Future. In T. Anderberg, T. Nilstun, and I. Persson (eds.), Aesthetic Distinction. Lund: Lund University Press, 56-84.
203. Levinson, Jerrold (1989). Refining Art Historically. Journal of Aesthetics and Art Criticism, 47: 21-33.
204. Levinson, Jerrold (1992). Intention and Interpretation: A Last Look. In G. Iseminger (ed.), Intention and Interpretation. Philadelphia: Temple University Press, 221-56.
205. Levinson, Jerrold (1993). Extending Art Historically. Journal of Aesthetics and Art Criticism, 51: 411-23.
206. Levinson, Jerrold (1995). Messages in Art. Australasian Journal of Philosophy, 73: 184-98.
207. Levinson, Jerrold (1996). The Pleasures of Aesthetics. Ithaca: Cornell University Press.
208. Levinson, Jerrold (1999). Two Notions of Interpretation. In A. Haapala and O. Naukkarinen (eds.), Interpretation and Its Boundaries. Helsinki: Helsinki University Press, 2-21.
209. Levinson, Jerrold (2001). Who's Afraid of a Paraphrase? Theoria, 67: 7-23.
210. Levinson, Jerrold (2002). Hypothetical Intentionalism: Statement, Objections, and Replies. In M. Krausz (ed.), Is There a Single Right Interpretation? University Park: Pennsylvania State University Press, 309-18.
211. Lind, Richard (1992). The Aesthetic Essence of Art. Journal of Aesthetics and Art Criticism, 50: 117-29.
212. Livingston, Paisley (1996). Arguing Over Intentions. Revue Internationale de Philosophie, 4: 615-33.
213. Livingston, Paisley (1998). Intentionalism in Aesthetics. New Literary History, 29: 831-46.
214. Livingston, Paisley (2005). Art and Intention: A Philosophical Study. Oxford: Oxford University Press.
215. Locke, John (1961). An Essay Concerning Human Understanding. Ed. J. W. Yolton. London: Dent. First published 1690.
216. Lorand, Ruth (1989). Free and Dependent Beauty: A Puzzling Issue. British Journal of Aesthetics, 29: 32-40.
217. Lorand, Ruth (1992). On "Free and Dependent Beauty"-A Rejoinder. British Journal of Aesthetics, 32: 250-3.
218. Lord, Catherine (1980). Convention and Dickie's Institutional Theory of Art. British Journal of Aesthetics, 20: 322-8.
219. Mallaband, Philip (2002). Understanding Kant's Distinction Between Free and Dependent Beauty. Philosophical Quarterly, 52: 66-81.
220. Maquet, Jacques (1971). Introduction to Aesthetic Anthropology. Reading, MA: Addison Wesley.
221. Margolis, Joseph (1965). The Language of Art and Art Criticism. Detroit: Wayne State University Press.
222. Margolis, Joseph (1974). Works of Art as Physically Embodied and Culturally Emergent Entities. British Journal of Aesthetics, 14: 187-96.
223. Margolis, Joseph (1976). Robust Relativism. Journal of Aesthetics and Art Criticism, 35: 37-46.
224. Margolis, Joseph (1977). The Ontological Peculiarity of Works of Art. Journal of Aesthetics and Art Criticism, 36: 45-50.
225. Margolis, Joseph (1980). Art and Philosophy. Atlantic Highlands, NJ: Humanities Press.
226. Margolis, Joseph (1989). Reinterpreting Interpretation. Journal of Aesthetics and Art Criticism, 47:237-51.
227. Margolis, Joseph (1991). The "Nature" of Interpretable Things. Midwest Studies in Philosophy, 16:226-48.
228. Margolis, Joseph (1992). The New Puzzle of Interpretation. Chicago: Chicago University Press.
229. Margolis, Joseph (1993). The Flux of History and the Flux of Science. Berkeley: University of California Press.
230. Margolis, Joseph (1995a). Plain Talk About Interpretation on a Relativistic Model. Journal of Aesthetics and Art Criticism, 53: 1-7.
231. Margolis, Joseph (1995b). Interpreting Radical But Not Unruly. Berkeley: University of California Press.
232. Martindale, Colin (1986). The Evolution of Italian Painting: A Quantitative Investigation of Trends in Style and Content from the Gothic to Rococo Styles. Leonardo, 19: 217-22.
233. McAdoo, Nick (2002). Kant and the Problem of Dependent Beauty. Kant-Studien, 93: 444-52.
234. McFee, Graham (1980). The Historicity of Art. Journal of Aesthetics and Art Criticism, 38:307-24.
235. McFee, Graham (1990). Davies' Replies: a Response. Grazer Philosophische Studien, 38, 177-84.
236. McFee, Graham (1992). The Historical Character of Art: A Reappraisal. British Journal of Aesthetics, 32: 307-19.
237. McFee, Graham (2003). Art, Essence, and Wittgenstein. In S. Davies and A. C. Sukla (eds.), Art and Essence. Westport, CT: Praeger, 17-38.
238. McGregor, Robert (1979). Art-Again. Critical Inquiry, 5: 713-23.
239. Merton, Robert K. (1968). Social Theory and Social Structure. Enlarged edn. New York:Free Press.
240. Miller, G. A. (1979) Images and Models, Similes and Metaphors. In A. Ortony (ed.), Metaphor and Thought. Cambridge: Cambridge University Press, 202-50.
241. Miller, Geoffrey F. (2000). The Mating Mind: How Sexual Choice Shaped the Evolution of Human Nature. New York: Doubleday.
242. Mooij, J. J. A. (1976). A Study of Metaphor. Amsterdam: North-Holland.
243. Moravcsik, Julius (1988). Art and Its Diachronic Dimensions. Monist, 71: 157-70.
244. Moravcsik, Julius (1991). Art and "Art". Midwest Studies in Philosophy, 16: 302-13.
245. Nathan, Daniel O. (1973). Categories and Intentions. Journal of Aesthetics and Art Criticism, 31: 539-41.
246. Nathan, Daniel O. (1982). Irony and the Artist's Intention. British Journal of Aesthetics, 22: 245-56.
247. Nathan, Daniel O. (1992). Irony, Metaphor, and the Problem of Intention. In G. Iseminger (ed.), Interpretation, Intention, and Truth. Philadelphia: Temple University Press, 183-202.
248. Nathan, Daniel O. (2005). A Paradox in Intentionalism. British Journal of Aesthetics, 45: 32-48.
249. Nehamas, Alexander (1981). The Postulated Author: Critical Monism as a Regulative Ideal. Critical Inquiry, 8: 133-49.
250. Nehamas, Alexander (1986). What An Author Is. Journal of Philosophy, 83: 685-91.
251. Nehamas, Alexander (1987). Writer, Text, Work, Author. In A. J. Cascardi (ed.), Literature and the Question of Philosophy. Baltimore: Johns Hopkins University Press, 267-91.
252. Nolt, John (1981). Expression and Emotion. British Journal of Aesthetics, 21: 139-50.
253. Novitz, David (1982). Towards a Robust Realism. Journal of Aesthetics and Art Criticism, 41: 171-85.
254. Novitz, David (1996). Disputes About Art. Journal of Aesthetics and Art Criticism, 54: 153-63.
255. Orians, G. H. and Heerwagen, J. H. (1992). Evolved Responses to Landscapes. In J. H. Barkow, L. Cosmides, and J. Tooby (eds.), The Adapted Mind: Evolutionary Psychology and the Generation of Culture. New York: Oxford University Press, 555-79.
256. Ortony, Andrew (1979). The Role of Similarity in Similes and Metaphors. In A. Ortony (ed.), Metaphor and Thought. Cambridge: Cambridge University Press, 186-201.
257. Osborne, Harold (1973). Definition and Evaluation in Aesthetics. Philosophical Quarterly, 23: 15-27.
258. Osborne, Harold (1977). Inspiration. British Journal of Aesthetics, 17: 242-53.
259. Osborne, Harold (1981). What Is a Work of Art? British Journal of Aesthetics, 21: 3-11.
260. Osborne, Harold (1983). Expressiveness: Where is the Feeling Found? British Journal of Aesthetics, 23: 112-23.
261. Pepper, Stephen C. (1962). Evaluating Definitions in Art and Their Sanctions. Journal of Aesthetics and Art Criticism, 21: 201-8.
262. Picard, Michel (1990). Kebalian Orang Bali: Tourism and the Uses of "Balinese Culture" in New Order Indonesia. Review of Indonesian and Malaysian Affairs, 24: 1-38.
263. Ramachandran, Vilayanur S. and Hirstein, William (1999). The Science of Art: A Neurological Theory of Aesthetic Experience. Journal of Consciousness Studies, 6, June-July: 15-51.
264. Ricoeur, Paul (1979). The Metaphorical Process as Cognition, Imagination and Feeling. In S. Sacks (ed.), On Metaphor. Chicago: Chicago University Press, 141-57.
265. Robinson, Jenefer (1985). Style and Personality in the Literary Work. Philosophical Review, 94: 227-47.
266. Santoro-Brienza, Liberato (2003). Art and Beauty in Antiquity and the Middle Ages. In S. Davies and A. C. Sukla (eds.), Art and Essence. Westport, CT: Praeger, 55-73.
267. Saville, Anthony (1996). Instrumentalism and the Interpretation of Narrative. Mind, 105:553-76.
268. Scarre, Geoffrey (1981). Kant on Free and Dependent Beauty. British Journal of Aesthetics, 21: 351-62.
269. Schaper, Eva (1979), Free and Dependent Beauty. In E. Schaper (ed.), Studies in Kant's Aesthetics. Edinburgh: Edinburgh University Press, 78-98.
270. Schlesinger, George (1979). Aesthetic Experience and the Definition of Art. British Journal of Aesthetics, 19: 167-76.
271. Scruton, Roger (1974). Art and Imagination. London: Methuen & Co.
272. Scruton, Roger (1983). The Nature of Musical Expression. In The Aesthetic Understanding. London:Methuen, 49-61.
273. Searle, John R. (1979). Metaphor. In A. Ortony (ed.), Metaphor and Thought. Cambridge:Cambridge University Press, 92-123.
274. Sharpe, R. A. (1994). Making the Past: McFee's Forward Retroactivism. British Journal of Aesthetics, 34: 170-3.
275. Sharpe, R. A. (2000). The Empiricist Theory of Artistic Value. Journal of Aesthetics and Art Criticism, 58: 321-32.
276. Shelley, James (2003). The Problem of Non-perceptual Art. British Journal of Aesthetics, 43: 363-78.
277. Shiner, Larry (1994). "Primitive Fakes", "Tourist Art", and the Ideology of Authenticity. Journal of Aesthetics and Art Criticism, 52: 225-34.
278. Shiner, Larry (2001). The Invention of Art: A Cultural History. Chicago: Chicago University Press.
279. Shiner, Larry (2003). Western and Non-Western Concepts of Art: Universality and Authenticity. In S. Davies and A. C. Sukla (eds.), Art and Essence. Westport, CT: Praeger, 143-56.
280. Shusterman, Richard (1978). The Logic of Interpretation. Philosophical Quarterly, 28:310-24.
281. Shusterman, Richard (1980). The Logic of Evaluation. Philosophical Quarterly, 30: 327-41.
282. Shusterman, Richard (1981). Evaluative Reasoning in Criticism. Ratio, 23: 142-59.
283. Shusterman, Richard (1987). Analytic Aesthetics: Retrospect and Prospect. Journal of Aesthetics and Art Criticism, 46: 115-24.
284. Shusterman, Richard (1992a). Pragmatist Aesthetics: Living Beauty, Rethinking Art. Oxford: Blackwell.
285. Shusterman, Richard (1992b). Interpreting with Pragmatist Intentions. In G. Iseminger (ed.), Interpretation, Intention, and Truth. Philadelphia: Temple University Press, 167-82.
286. Sibley, Frank (1959). Aesthetic Concepts. Philosophical Review, 68: 421-50.
287. Sibley, Frank (1983). General Criteria and Reasons in Aesthetics. In J. Fisher (ed.), Essays on Aesthetics: Perspectives on the Work of Monroe Beardsley. Philadelphia: Temple University Press, 3-20.
288. Silvers, Anita (1976). The Artworld Discarded. Journal of Aesthetics and Art Criticism, 34:441-54.
289. Sircello, Guy (1965). Perceptual Acts and Pictorial Art: A Defense of the Expression Theory. Journal of Philosophy, 62: 669-77.
290. Sircello, Guy (1972). Mind and Art. Princeton: Princeton University Press.
291. Snoeyenbos, Milton H. (1978). On the Possibility of Theoretical Aesthetics. Metaphilosophy, 9: 108-121.
292. Stecker, Robert (1983). Nolt on Expression and Emotion. British Journal of Aesthetics, 23: 234-9.
293. Stecker, Robert (1987). Apparent, Implied, and Postulated Authors. Philosophy and Literature, 11:258-71.
294. Stecker, Robert (1990). Lorand and Kant on Free and Dependent Beauty. British Journal of Aesthetics, 30: 71-4.
295. Stecker, Robert (1991). Goldman on Interpreting Art and Literature. Journal of Aesthetics and Art Criticism, 49: 243-6.
296. Stecker, Robert (1992). Incompatible Interpretations. Journal of Aesthetics and Art Criticism, 50:291-8.
297. Stecker, Robert (1994a). Historical Functionalism and the Four Factor Theory. British Journal of Aesthetics, 34: 255-65.
298. Stecker, Robert (1994b). The Role of Intention and Convention in Interpreting Artworks. Southern Journal of Philosophy, 31: 471-89.
299. Stecker, Robert (1994c). Art Interpretation. Journal of Aesthetics and Art Criticism, 52: 193-206.
300. Stecker, Robert (1995). Relativism About Interpretation. Journal of Aesthetics and Art Criticism, 53:14-18.
301. Stecker, Robert (1997). Artworks: Definition, Meaning, Value. University Park: Pennsylvania State University Press.
302. Stecker, Robert (2000). Is It Reasonable to Attempt to Define Art? In N. Carroll (ed.), Theories of Art Today. Madison: University of Wisconsin Press, 45-64.
303. Stecker, Robert (2003a). The Ontology of Art Interpretation. In S. Davies and A. C. Sukla (eds.), Art and Essence. Westport, CT: Praeger, 177-91.
304. Stecker, Robert (2003b). Interpretation and Construction: Art, Speech, and the Law. Oxford:Blackwell Publishing.
305. Stecker, Robert (2005). Aesthetics and the Philosophy of Art. Lanham: Rowman & Littlefield.
306. Stock, Kathleen (2003). Historical Definitions of Art. In S. Davies and A. C. Sukla (eds.), Art and Essence. Westport, CT: Praeger, 159-76.
307. Stolnitz, Jerome (1960). Aesthetics and the Philosophy of Art Criticism. Boston: Houghton Mifflin.
308. Sumarsam (1995). Gamelan: Cultural Interaction and Musical Development in Central Java. Chicago: University of Chicago Press.
309. Tatarkiewicz, Wladyslaw (1971). What Is Art? The Problem of Definition Today. British Journal of Aesthetics, 11: 134-53.
310. Thompson, Robert Farris (1968). Esthetics in Traditional Africa. ARTnews, 66: 44-5, 63-7.
311. Tilghman, Benjamin R. (1984). But Is It Art? Oxford: Blackwell.
312. Tillinghast, Lauren (2003). The Classificatory Sense of "Art". Journal of Aesthetics and Art Criticism, 61: 133-48.
313. Tillinghast, Lauren (2004). Essence and Anti-Essentialism about Art. British Journal of Aesthetics, 44:167-83.
314. Todd, George F. (1972). Expression Without Feeling. Journal of Aesthetics and Art Criticism, 30: 477-88.
315. Tolhurst, William (1979). On What a Text is and How it Means. British Journal of Aesthetics, 19: 3-14.
316. Tolhurst, William (1984). Towards an Aesthetic Account of the Nature of Art. Journal of Aesthetics and Art Criticism, 42: 261-9.
317. Tolstoy, Leo (1962). What is Art? and Essays on Art. Trans. A. Maude. New York:Hespirides Book. First published 1898.
318. Tomas, Vincent A. (1952). The Concept of Expression in Art. In Science, Language, and Human Rights. Proceedings of the American Philosophical Association, 1. Philadelphia:Pennsylvania University Press, 127-46.
319. Tormey, Alan (1971). The Concept of Expression. Princeton: Princeton University Press.
320. Townsend, Dabney (2003). Art and the Aesthetic: Hume, Kant, and the Essence of Art. In S. Davies and A. C. Sukla (eds.), Art and Essence. Westport, CT: Praeger, 75-93.
321. Trivedi, Saam (2001). An Epistemic Dilemma for Actual Intentionalism. British Journal of Aesthetics, 41: 192-206.
322. Urmson, J. O. (1973). Representation in Music. Royal Institute of Philosophy Lectures, 6:132-46.
323. Vickers, Adrian (1989). Bali: A Paradise Created. Ringwood, Victoria: Penguin.
324. Walton, Kendall L. (1970). Categories of Art. Philosophical Review, 79: 334-67.
325. Walton, Kendall L. (1987). Style and the Products of the Processes of Art. In B. Lang (ed.), The Concept of Style. Rev. and expanded edn. Ithaca: Cornell University Press, 72-103.
326. Weitz, Morris (1956). The Role of Theory in Aesthetics. Journal of Aesthetics and Art Criticism, 15: 27-35.
327. Wicks, Robert (1993). Hegel's Aesthetics: An Overview. In F. C. Beiser (ed.), The Cambridge Companion to Hegel. Cambridge: Cambridge University Press, 348-77.
328. Wicks, Robert (1997). Dependent Beauty as the Appreciation of Teleological Style. Journal of Aesthetics and Art Criticism, 55: 387-400.
329. Wicks, Robert (1999). Can Tattooed Faces be Beautiful? Limits on the Restriction of Forms in Dependent Beauty. Journal of Aesthetics and Art Criticism, 57: 361-3.
330. Wicks, Robert (2003). Hegel and Nietzsche on Life and Dramatic Character. In S. Davies and A. C. Sukla (eds.), Art and Essence. Westport, CT: Praeger, 95-110.
331. Wimsatt Jr, William and Beardsley, Monroe C. (1946). The Intentional Fallacy. Sewanee Review, 54: 468-88.
332. Wittgenstein, Ludwig (1968). Philosophical Investigations. Trans. G. E. M. Anscombe. Oxford: Basil Blackwell.
333. Wollheim, Richard (1964). On Expression and Expressionism. Revue Internationale de Philosophie, 18: 270-89.
334. Wollheim, Richard (1966-7). Expression. Royal Institute of Philosophy Lectures, 1: 227-44.
335. Wollheim, Richard (1980). Art and Its Objects. 2nd edn. Cambridge: Cambridge University Press.
336. Zangwill, Nick (1995a). The Creative Theory of Art. American Philosophical Quarterly, 32:307-23.
337. Zangwill, Nick (1995b). Groundrules in the Philosophy of Art. Philosophy, 70: 533-44.
338. Zangwill, Nick (2001a). Aesthetic Functionalism. In E. Brady and J. Levinson (eds.), Aesthetic Concepts: Essays After Sibley. Oxford: Oxford University Press, 123-48.
339. Zangwill, Nick (2001b). The Metaphysics of Beauty. Ithaca: Cornell University Press.
340. Zangwill, Nick (2003). Beauty. In J. Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford:Oxford University Press, 325-43.