Contemplating Art: Essays in Aesthetics

Contemplating Art: Essays in Aesthetics

Volumn , Issue , 2007, Pages 1-432

  Levinson, Jerrold ^a  

^a UNIVERSITY OF MARYLAND   (United States)

Author keywords

Aesthetic Properties; Humor; Interpretation; Intrinsic Value; Literary Language; Literature; Music; Pictorial Art

Indexed keywords

EID: 84922793062     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1093/acprof:oso/9780199206179.001.0001     Document Type: Book

References (281)

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27. 'Musical Expressiveness', in Pleasures of Aesthetics (Ithaca: Cornell University Press, 1996), 90-125
28. 'Defining Art Historically', British Journal of Aesthetics 19 (1979): 232-50
29. 'Refining Art Historically', Journal of Aesthetics and Art Criticism 47 (1989): 21-33
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33. 'Intention, History, and Artifact Concepts', Cognition 60 (1996): 1-29.
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39. Faces of Intention: Selected Essays (Cambridge: Cambridge University Press, 1999).
40. Frank Sibley, 'Originality and Value', British Journal of Aesthetics 25 (1985): 169-84;
41. Bruce Vermazen, 'The Aesthetic Value of Originality', Midwest Studies in Philosophy 16 (1991): 266-79;
42. Paul Crowther, 'Creativity and Originality in Art', British Journal of Aesthetics 31 (1991): 301-9.
43. 'Art, Value, and Philosophy', Mind 105 (1996): 667-82.
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52. Robert Solomon, The Passions (Garden City, NY: Anchor Books, 1978);
53. William Lyons, Emotion (Cambridge: Cambridge University Press, 1980);
54. Robert Gordon, The Structure of Emotions (Cambridge: Cambridge University Press, 1987);
55. Ronald De Sousa, The Rationality of Emotion (Cambridge, MA: MIT Press, 1987);
56. Patricia Greenspan, Emotions and Reasons (London: Routledge, 1989).
57. 'Cognitivism in the Theory of Emotions', Ethics 104 (1994): 824-54.
58. Jenefer Robinson, 'Startle', Journal of Philosophy 92 (1995): 53-74.
59. Eva Schaper, 'Fiction and the Suspension of Disbelief', British Journal of Aesthetics 18 (1978): 31-44
60. Peter Lamarque, 'How Can We Fear and Pity Fictions?', British Journal of Aesthetics 21 (1981): 291-304
61. William Charlton, 'Feeling for the Fictitious', British Journal of Aesthetics 24 (1984): 206-16.
62. John Morreall, 'Fear Without Belief', Journal of Philosophy 90 (1983): 359-66;
63. Alex Neill, 'Fear and Belief', Philosophy and Literature 19 (1995): 94-101.
64. Alex Neill, 'Fiction and the Emotions', American Philosophical Quarterly 30 (1993): 1-13;
65. Robert Yanal, 'The Paradox of Emotion and Fiction', Pacific Philosophical Quarterly 75 (1994): 54-75.
66. Colin Radford, 'How Can We Be Moved By The Fate of Anna Karenina?', Proceedings of the Aristotelian Society Suppl. 49 (1975): 67-93
67. Harley Slater, 'The Incoherence of the Aesthetic Response', British Journal of Aesthetics 33 (1993): 168-72.
68. Kendall Walton, Mimesis as Make-Believe (Cambridge, MA: Harvard University Press, 1990)
69. Gregory Currie, The Nature of Fiction (Cambridge: Cambridge University Press, 1990).
70. Jerrold Levinson, 'Making Believe', in The Pleasures of Aesthetics (Ithaca: Cornell University Press, 1996).
71. Malcolm Budd, Music and the Emotions (London: Routledge, 1985)
72. Values of Art (London: Penguin, 1995);
73. Peter Kivy, Sound Sentiment (Philadelphia: Temple University Press, 1989)
74. Colin Radford, 'Emotions and Music: A Reply to the Cognitivists', Journal of Aesthetics and Art Criticism 47 (1989): 69-76;
75. Jerrold Levinson, 'Music and Negative Emotion' and 'Hope in "The Hebrides" ', in Music, Art, and Metaphysics (Ithaca: Cornell University Press, 1990)
76. Jenefer Robinson, 'The Expression and Arousal of Emotion in Music', Journal of Aesthetics and Art Criticism 52 (1994): 13-22;
77. Francis Sparshott, 'Music and Feeling', Journal of Aesthetics and Art Criticism 52 (1994): 23-35;
78. Alan Goldman, 'Emotions in Music (A Postscript)', Journal of Aesthetics and Art Criticism 53 (1995): 59-69;
79. Aaron Ridley, Music, Value, and the Passions (Ithaca: Cornell University Press, 1995);
80. Roger Scruton, The Aesthetics of Music (Oxford: Oxford University Press, 1997).
81. Mark Packer, 'Dissolving the Paradox of Tragedy', Journal of Aesthetics and Art Criticism 47 (1989): 212-19.
82. Nelson Goodman, Languages of Art (Indianapolis: Bobbs-Merrill, 1968)
83. Marcia Eaton, 'A Strange Kind of Sadness', Journal of Aesthetics and Art Criticism 41 (1982): 51-63
84. Susan Feagin, 'The Pleasures of Tragedy', American Philosophical Quarterly 20 (1983): 95-104.
85. John Morreall, 'Enjoying Negative Emotions in Fiction', Philosophy and Literature 9 (1985): 95-103;
86. Jenefer Robinson, 'L'education sentimentale', Australasian Journal of Philosophy 73 (1995): 212-26;
87. Kendall Walton, Mimesis as Make-Believe (Cambridge, MA: Harvard University Press, 1990)
88. Berys Gaut, 'The Paradox of Horror', British Journal of Aesthetics 33 (1993): 333-45.
89. Monroe Beardsley, The Aesthetic Point of View (Ithaca: Cornell University Press, 1983)
90. George Dickie, Art and the Aesthetic (Ithaca: Cornell University Press, 1974).
91. John Updike, 'Can Genitalia Be Beautiful?', review of Egon Schiele exhibition at the Museum of Modern Art, New York Review of Books, Dec. 4, 1997.
92. 'Sexual Perversity', Monist 86 (2003): 30-54.
93. Kendall Walton's 'Transparent Pictures', Critical Inquiry 11 (1984): 246-77.
94. 'Pornographic Art', Philosophy and Literature 25 (2001): 31-45.
95. Susan Sontag, in 'The Pornographic Imagination', Styles of Radical Will (New York: Farrar, Straus & Giroux, 1969).
96. Lopes, 'The Aesthetics of Photographic Transparency', Mind 112 (2003): 433-48
97. Stephen Davies, Musical Meaning and Expression (Ithaca: Cornell University Press, 1994), 275-6.
98. Values of Art: Pictures, Poetry, and Music (London: Penguin, 1995).
99. Colin Radford, 'How Can Music Be Moral?', Midwest Studies 16 (1991): 421-38
100. Donald Walhout, 'Music and Moral Goodness', Journal of Aesthetic Education 29 (1995): 5-16.
101. 'Understanding Music', in Kingsley Price (ed.), On Criticizing Music (Baltimore: Johns Hopkins University Press, 1981).
102. Leonard Meyer, 'Some Remarks on Value and Greatness in Music', in Music, the Arts, and Ideas (Chicago: University of Chicago Press, 1967), 22-41;
103. Anthony Savile, Kantian Aesthetics Pursued (Edinburgh: Edinburgh University Press, 1993)
104. Stephen Davies, 'Musical Understanding and Musical Kinds', Journal of Aesthetics and Art Criticism 52 (1994): 69-81;
105. Anthony Savile, The Test of Time (Oxford: Oxford University Press, 1982).
106. Frank Sibley, 'General Criteria and Reasons in Aesthetics', in J. Fisher (ed.), Essays on Aesthetics (Philadelphia: Temple University Press, 1983);
107. John Bender, 'General but Defeasible Reasons in Aesthetic Evaluation: The Particularist/Generalist Dispute', Journal of Aesthetics and Art Criticism 53 (1995): 379-92.
108. Richard Eldridge, 'Form and Content: An Aesthetic Theory of Art', British Journal of Aesthetics 25 (1985): 303-16
109. David Bordwell and Kristin Thompson, 'Fundamental Aesthetics of Sound in Cinema', in Film Art: An Introduction, 4th edn. (New York: Knopf, 1993).
110. Claudia Gorbman's Unheard Melodies: Narrative Film Music (Bloomington: Indiana University Press, 1987)
111. Berys Gaut, 'Making Sense of Films: Neoformalism and Its Limits', Forum for Modern Language Studies 31 (1995): 8-23.
112. Edward Branigan, Point of View in the Cinema (The Hague: Mouton, 1984).
113. Gregory Currie, in 'Visual Fictions', Philosophical Quarterly 41 (1991): 129-43.
114. 'Seeing, Imaginarily, at the Movies', Philosophical Quarterly 43 (1993): 70-8.
115. George Wilson, Narration in Light (Baltimore: Johns Hopkins University Press, 1986).
116. Kathryn Kalinak, Settling the Score: Music and the Classical Hollywood Film (Madison: University of Wisconsin Press, 1992), 30.
117. Sarah Kozloff, Invisible Storytellers: Voice-over in American Fiction Film (Berkeley: University of California Press, 1988), 43-4.
118. Noël Carroll, Mystifying Movies (New York: Columbia University Press, 1988), 216.
119. 'Making Believe', Dialogue 32 (1993): 359-74
120. Graham Bruce, Bernard Herrmann: Film Music and Narrative (Ann Arbor: UMI Research Press, 1985), 68.
121. 'Sound in Bresson's Mouchette', in Elisabeth Weis and John Belton (eds.), Film Sound (New York: Columbia University Press, 1985), 329-30.
122. Kenneth Chanko, 'It's Got a Nice Beat, You Can Torture to It', New York Times, Feb. 20, 1994
123. Stephen Holden, New York Times, Jan. 30, 1994
124. David Denby, 'The Moviegoers: Why Don't People Love the Right Movies Anymore?', The New Yorker, April 6, 1998, 98.
125. Peter Kivy, 'Hume's Standard: Breaking the Circle', British Journal of Aesthetics 7 (1967): 57-66;
126. Carolyn Korsmeyer, 'Hume and the Foundations of Taste', Journal of Aesthetics and Art Criticism 35 (1976): 201-15;
127. Peter Jones, 'Hume's Aesthetics Reassessed', Philosophical Quarterly 26 (1976): 48-62;
128. Jeffrey Wieand, 'Hume's Two Standards of Taste', Philosophical Quarterly 34 (1983): 129-42;
129. Noël Carroll, 'Hume's Standard of Taste', Journal of Aesthetics and Art Criticism 43 (1984): 181-94;
130. Richard Shusterman, 'Of the Scandal of Taste: Social Privilege as Nature in the Aesthetic Theories of Hume and Kant', Philosophical Forum 20 (1989): 211-29;
131. Mary Mothersill, 'Hume and the Paradox of Taste', in George Dickie, Richard Sclafani, and Richard Roblin (eds.), Aesthetics: A Critical Anthology, 2nd edn. (New York: St. Martin's, 1989), 269-86;
132. Anthony Savile, Kantian Aesthetics Pursued (Edinburgh: Edinburgh University Press, 1993)
133. Ted Cohen, 'Partial Enchantments of the Quixote Story in Hume's Essay on Taste', in Robert Yanal (ed.), Institutions of Art (University Park, PA: Pennsylvania State University Press, 1994), 145-56;
134. Nick Zangwill, 'Hume, Taste and Teleology', Philosophical Papers 23 (1994): 1-18;
135. Ted Gracyk, 'Rethinking Hume's Standard of Taste', Journal of Aesthetics and Art Criticism 52 (1994): 169-82;
136. James Shelley, 'Hume's Double Standard of Taste', Journal of Aesthetics and Art Criticism 52 (1994), 437-45
137. 'Hume and the Nature of Taste', Journal of Aesthetics and Art Criticism 56 (1998): 29-38;
138. Malcolm Budd, Values of Art (London: Penguin, 1995)
139. Alan Goldman, Aesthetic Value (Boulder, CO: Westview, 1995)
140. Roger Shiner, 'Hume and the Causal Theory of Taste', Journal of Aesthetics and Art Criticism 54 (1996): 237-49;
141. Peter Railton, 'Aesthetic Value, Moral Value, and the Ambitions of Naturalism', in Jerrold Levinson (ed.), Aesthetics and Ethics (Cambridge: Cambridge University Press, 1998), 59-105;
142. Michelle Mason, 'Moral Prejudice and Aesthetic Deformity: Rereading Hume's "Of the Standard of Taste" ', Journal of Aesthetics and Art Criticism 59 (2001): 59-71.
143. 'Aesthetic Properties, Evaluative Force, and Differences of Sensibility', in Emily Brady and Jerrold Levinson (eds.), Aesthetic Concepts: Essays After Sibley (Oxford: Oxford University Press, 2001), 61-80
144. Monroe Beardsley, 'The Aesthetic Point of View', in The Aesthetic Point of View (Ithaca: Cornell University Press, 1982)
145. 'Art, Value, and Philosophy', Mind 105 (1996): 667-82.
146. 'Intrinsic Value and the Notion of a Life', Journal of Aesthetics and Art Criticism 62 (2004): 319-29
147. 'Intention and Interpretation in Literature', in The Pleasures of Aesthetics (Ithaca, NY: Cornell University Press, 1996): 175-213.
148. William Tolhurst, 'On What a Text Is and How It Means', British Journal of Aesthetics 19 (1979): 3-14.
149. Robert Stecker, 'Art Interpretation', Journal of Aesthetics and Art Criticism 52 (1994): 193-206.
150. Anthony Savile, 'Instrumentalism and the Interpretation of Narrative', Mind 105 (1996): 553-76;
151. Paisley Livingston, 'Arguing Over Intentions', Revue Internationale de Philosophie 198 (1996): 615-33;
152. Noël Carroll, 'Interpretation and Intention: The Debate Between Hypothetical and Actual Intentionalism', Metaphilosophy 31 (2000): 75-95.
153. Gregory Currie, 'Interpretation and Objectivity', Mind 102 (1993): 415-28.
154. Gary Iseminger, 'Actual Intentionalism vs. Hypothetical Intentionalism', Journal of Aesthetics and Art Criticism 54 (1996): 319-26.
155. Noël Carroll, 'Art, Intention, and Conversation', in Gary Iseminger (ed.), Intention and Interpretation (Philadelphia: Temple University Press, 1992).
156. Saam Trivedi, 'An Epistemic Dilemma for Actual Intentionalism', British Journal of Aesthetics 41 (2001): 192-206
157. Gregory Currie, 'Interpretation in Art', in Jerrold Levinson (ed.), Oxford Handbook of Aesthetics (Oxford: Oxford University Press, 2003), 291-306.
158. Anarchy, State and Utopia (Oxford: Blackwell, 1974).
159. G. E. Moore, Principia Ethica (Cambridge: Cambridge University Press, 1903)
160. Monroe Beardsley, 'Intrinsic Value', Philosophy and Phenomenological Research 26 (1965): 1-17.
161. Christine Korsgaard, 'Two Distinctions in Goodness', Philosophical Review 92 (1983): 169-95
162. 'Art, Value, and Philosophy', critical notice of Malcolm Budd, Values of Art, Mind 105 (1996): 667-82.
163. C. I. Lewis, An Analysis of Knowledge and Valuation (La Salle, IL: Open Court, 1946);
164. Michael Slote, Goods and Virtues (Oxford: Oxford University Press, 1985);
165. David Velleman, 'Well-Being and Time', Pacific Philosophical Quarterly 72 (1991): 48-77.
166. Thomas Nagel, 'Death', in Mortal Questions (Cambridge: Cambridge University Press, 1979), 6.
167. 'Defining Art Historically', British Journal of Aesthetics 19 (1979): 232-50
168. Music, Art, and Metaphysics (Ithaca: Cornell University Press, 1990).
169. Victor Yelverton Haines, 'Recursive Chaos in Defining Art Recursively', British Journal of Aesthetics 44 (2004): 73-83.
170. Paisley Livingston's Art and Intention (Oxford: Oxford University Press, 2005).
171. Stephen Davies's 'Musical Understanding and Musical Kinds', Journal of Aesthetics and Art Criticism 51 (1993): 69-81.
172. Ted Cohen, 'Jokes', in Eva Schaper (ed.), Pleasure, Preference, and Value (Cambridge: Cambridge University Press, 1983);
173. Kathleen Higgins, The Music of Our Lives (Philadelphia: Temple University Press, 1991)
174. Colin Radford, 'How Can Music Be Moral?', Midwest Studies in Philosophy 16 (1991)
175. Stephen Davies, Musical Meaning and Expression (Ithaca: Cornell University Press, 1994)
176. 'Music Structure and Emotional Response: Some Empirical Findings', Psychology of Music 19 (1991): 110-20.
177. 'Musical Performance and Emotion: Issues and Developments', in S. W. Yi (ed.), Music, Mind, and Science (Seoul: Western Music Research Institute, 1999).
178. Alan Tormey, The Concept of Expression (Princeton: Princeton University Press, 1971);
179. Bruce Vermazen, 'Expression as Expression', Pacific Philosophical Quarterly 67 (1986): 196-224;
180. Aaron Ridley, 'Expression in Art', in Jerrold Levinson (ed.), Oxford Handbook of Aesthetics (Oxford: Oxford University Press, 2003), 211-27.
181. 'Hope in "The Hebrides" ', in Music, Art, and Metaphysics (Ithaca: Cornell University Press, 1990)
182. Derek Matravers, Art and Emotion (Oxford: Oxford University Press, 1998), 131.
183. Kendall Walton, 'Listening with Imagination: Is Music Representational?', Journal of Aesthetics and Art Criticism 52 (1994): 47-61
184. Malcolm Budd, Values of Art (London: Penguin, 1995) 132.
185. Kendall Walton, 'Projectivism, Empathy, and Musical Tension', Philosophical Topics 26 (1999): 407-40
186. Jenefer Robinson, 'The Expression and Arousal of Emotion in Music', in Philip Alperson (ed.), Musical Worlds (University Park, PA: Pennsylvania State University Press, 1998), 13-22;
187. Robert Stecker, 'Expressiveness and Expression in Music and Poetry', Journal of Aesthetics and Art Criticism 59 (2001): 85-96.
188. Fred Maus, 'Music as Drama', Music Theory Spectrum 10 (1998): 56-73;
189. Gregory Karl and Jenefer Robinson, 'Shostakovich's Tenth Symphony and the Musical Expression of Cognitively Complex Emotions', in J. Robinson (ed.), Music and Meaning (Ithaca: Cornell University Press, 1997), 154-78.
190. The Blue and Brown Books, 2nd edn. (Oxford: Blackwell, 1958);
191. Charles Rosen, Beethoven's Piano Sonatas: A Short Companion (New Haven: Yale University Press, 2001), 168-70.
192. Music in the Moment (Ithaca: Cornell University Press, 1998).
193. George Wilson, 'Narrative', in Jerrold Levinson (ed.), Oxford Handbook of Aesthetics (Oxford: Oxford University Press, 2003), 392-407
194. Noël Carroll, 'On the Narrative Connection', in Beyond Aesthetics (Cambridge: Cambridge University Press, 2001), 118-33
195. Kendall Walton, Mimesis as Make-Believe, (Cambridge, MA: Harvard University Press, 1990
196. Gregory Currie, The Nature of Fiction (Cambridge: Cambridge University Press, 1990);
197. George Wilson, 'Le Grand Imagier Steps Out: The Primitive Basis of Film Narration', Philosophical Topics 25 (1998): 295-318
198. Fred Maus, 'Narratology, Narrativity', in Stanley Sadie (ed.), New Grove Dictionary of Music (Oxford: Oxford University Press, 2003).
199. 'Music as Drama', in Jenefer Robinson (ed.), Music and Meaning (Ithaca: Cornell University Press, 1997), 105-30
200. Anthony Newcomb, 'Action and Agency in Mahler's Ninth Symphony, Second Movement', in Jenefer Robinson (ed.), Music and Meaning (Ithaca: Cornell University Press, 1997), 131-53
201. 'Musical Expressiveness as Hearability-as-Expression', in Matthew Kieran (ed.), Contemporary Debates in Aesthetics and Philosophy of Art (Oxford: Blackwell, 2005)
202. Peter Kivy, 'The Fine Art of Repetition', in The Fine Art of Repetition (Cambridge: Cambridge University Press, 1993), 359.
203. Jon Elster, Ulysses Unbound (Cambridge: Cambridge University Press, 2000)
204. Jerrold Levinson, 'Hybrid Artforms', in Music, Art, and Metaphysics (Ithaca: Cornell University Press, 1990).
205. Kendall Walton, 'Categories of Art', Philosophical Review 79 (1970): 334-67.
206. Roger Scruton, 'Understanding Music', in The Aesthetic Understanding (London: Methuen, 1983), 77-100.
207. Aesthetics of Music (Oxford: Oxford University Press, 1997)
208. Kivy, Music Alone. (Ithaca: Cornell University Press, 1990)
209. 'Schopenhauer, Arthur', in M. Kelly (ed.), The Encyclopedia of Aesthetics (New York: Oxford University Press, 1998), 245-50.
210. 'Authentic Performance and Performance Means', in Music, Art, and Metaphysics (Ithaca: Cornell University Press, 1990), 393-408
211. Roberto Casati and Jerome Dokic, La Philosophie du son (Nîmes: Editions Jacqueline Chambon, 1994).
212. Robert Pasnau, 'What is Sound?', Philosophical Quarterly 49 (1999): 309-23
213. Stephen Davies, Musical Meaning and Expression (Ithaca: Cornell University Press, 1994)
214. Peter Kivy, New Essays on Musical Understanding (Oxford: Oxford University Press, 2001).
215. Jenefer Robinson, 'The Expression and Arousal of Emotion in Music', in Philip Alperson (ed.), Musical Worlds (University Park, PA: Pennsylvania State University Press, 1998), 13-22.
216. Roger Scruton, The Aesthetics of Music (Oxford: Oxford University Press, 1997)
217. 'Humour and Incongruity', Philosophy 45 (1970): 20-32;
218. 'Humour, Laughter and the Structure of Thought', British Journal of Aesthetics 27 (1987): 238-45.
219. 'Enjoying Incongruity', Humor 2 (1989): 1-18.
220. M. W. Martin, 'Humor and the Aesthetic Enjoyment of Incongruities', British Journal of Aesthetics 23 (1983): 74-84;
221. 'The Physiology of Laughter' (1860), in Essays on Education and Kindred Subjects. (London: Dent, 1911), 298-309.
222. Paul Bloom, 'Intention, History, and Artifact Concepts', Cognition 60 (1996): 1-29.
223. 'Defining Art Historically', British Journal of Aesthetics 19 (1979): 232-50
224. 'Refining Art Historically', Journal of Aesthetics and Art Criticism 47 (1989): 21-33
225. 'A Refiner's Fire: Reply to Sartwell and Kolak', Journal of Aesthetics and Art Criticism 48 (1990): 231-5;
226. 'Further Fire: Reply to Haines', Journal of Aesthetics and Art Criticism 48 (1991): 76-7;
227. Robert Stecker, Artworks: Definition, Meaning, Value (University Park, PA: Pennsylvania State University Press, 1997), 88-98
228. Graham Oppy, 'On Defining Art Historically', British Journal of Aesthetics 32 (1992): 153-61.
229. Tom Leddy, 'The Socratic Quest in Art and Philosophy', Journal of Aesthetics and Art Criticism 51 (1993): 399-410
230. Stephen Davies, 'First Art and Art's Definition', Southern Journal of Philosophy 35 (1997): 19-34.
231. Gregory Currie, 'Aliens, Too', Analysis 53 (1993): 116-18.
232. Robert Stecker, 'Alien Objections to Historical Definitions of Art', British Journal of Aesthetics 36 (1996): 305-8
233. Berys Gaut, ' "Art" As A Cluster Concept', in N. Carroll (ed.), Theories of Art Today (Madison: University of Wisconsin Press, 2000), 36.
234. Gregory Currie, 'A Note on Art and Historical Concepts', British Journal of Aesthetics 40 (2000): 186-90.
235. P. Bloom, 'Intention, History, and Artifact Concepts', Cognition 60 (1996): 1-29.
236. The Philosophical Disenfranchisement of Art (New York: Columbia University Press, 1986)
237. Ludwig Wittgenstein, Philosophical Investigations (London: Macmillan, 1958).
238. Richard Shusterman, 'Beneath Interpretation', in Pragmatist Aesthetics (Oxford: Blackwell, 1992).
239. 'Objects of Interpretation', Metaphilosophy 31 (2000): 96-124
240. Jerry Fodor, 'Deja vu All Over Again: How Danto's Aesthetics Recapitulates the Philosophy of Mind', in Mark Rollins (ed.), Danto And His Critics (Oxford: Basil Blackwell, 1993)
241. 'Aesthetic Properties', Proceedings of the Aristotelian. Society. Supplement 79 (2005): 191-210.
242. 'Aesthetic Properties, Evaluative Force, and Differences of Sensibility', in Emily Brady and Jerrold Levinson (eds.), Aesthetic Concepts: Essays After Sibley (Oxford: Oxford University Press, 2001), 61-80
243. Malcolm Budd, 'Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties', European Journal of Philosophy 7 (1999): 295-311
244. Aaron Meskin, 'Aesthetic Testimony: What Can We Learn from Others about Beauty and Art?', Philosophy and Phenomenological Research 69 (2004): 65-91.
245. Alan Goldman, Aesthetic Value (Boulder, CO: Westview Press, 1995);
246. John Bender, 'Realism, Supervenience, and Irresolvable Aesthetic Disputes', Journal of Aesthetics and Art Criticism 54 (1996): 371-81;
247. John Bender, 'Sensitivity, Sensibility, and Aesthetic Realism', Journal of Aesthetics and Art Criticism 59 (2001): 73-83.
248. 'Properties and Related Entities', Philosophy and Phenomenological Research 39 (1978): 1-22.
249. P. M. S. Hacker in 'Are Secondary Qualities Relative?', Mind 95 (1986): 180-97.
250. Mark Johnston, 'Are Manifest Qualities Response-Dependent?', Monist 81 (1998): 3-43.
251. Kendall Walton, 'Projectivism, Empathy, and Musical Tension', Philosophical Topics 26 (1999): 407-40
252. Richard Wollheim, Painting as an Art (Princeton: Princeton University Press, 1987).
253. Linda Nochlin, Woman, Art, and Power and Other Essays (New York: Harper & Row, 1988).
254. 'Erotic Art and Pornographic Pictures', Philosophy and Literature 29 (2005): 228-40
255. Kenneth Clark, The Nude: A Study in Ideal Form (Princeton: Princeton University Press, 1956);
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