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Forthcoming articles
  1.  26
    Ivan Gaskell (forthcoming). Hans Belting, The End of the History of Art?, 1987. British Journal of Aesthetics 29.
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  2.  5
    Ivan Gaskell & Salim Kemal (forthcoming). Michael Baxandall, Patterns of Intention, 1985. British Journal of Aesthetics 27.
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  3.  5
    Ivan Gaskell (forthcoming). Edgar Wind, The Eloquence of Symbols: Studies in Humanist Art, Ed. Jaynie Anderson, 1983. British Journal of Aesthetics 25.
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  4.  2
    Jakub Stejskal (forthcoming). Art and Bewilderment. British Journal of Aesthetics:ayw039.
    In this paper I seek to defend the proposition that bewilderment can contribute to the interest we take in artworks. Taking inspiration from Alois Riegl’s underdeveloped explanation of why his contemporaries valued some historically distant artworks higher than recent art, I interpret the historical case of the European audiences’ fascination with the Fayum mummy portraits as involving such a bewilderment. I distinguish the claim about effective bewilderment from the thesis that aesthetic meaning resists discursive understanding and seek to establish that (...)
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  5.  19
    Catharine Abell (forthcoming). The Nonexistent. British Journal of Aesthetics:ayv024.
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  6.  3
    Paul Guyer (forthcoming). Art and Ethics in a Material World: Kant’s Pragmatist Legacy. British Journal of Aesthetics:ayv037.
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  7.  15
    J. A. Judge (forthcoming). On Music. British Journal of Aesthetics:ayv023.
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  8.  3
    Yves Laberge (forthcoming). Photographic Theory: An Historical Anthology. British Journal of Aesthetics:ayu094.
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  9.  2
    Patrick Maynard (forthcoming). Neuroaesthetics, Gombrich, and Depiction. British Journal of Aesthetics:ayv015.
    For philosophical readers, a review of biology Nobel laureate Eric R. Kandel’s Age of Insight historical thesis, that today’s ‘neuroaesthetics’ is a continuation of Vienna’s great contributions to modernism from 1900 on, becomes a ‘critical study’, by closely examining Kandel’s valuable account of E.H. Gombrich’s psychology, then, broadly, his own case for the validity of ‘neuroaesthetics’. The article much credits Kandel for recognising and explaining—unlike most philosophers, with their epistemological and metaphysical perspectives—why Gombrich’s Art and Illusion is subtitled ‘Psychology’, since (...)
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  10.  12
    David S. MiaU (forthcoming). Metaphor and Literary Meaning. British Journal of Aesthetics.
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  11.  3
    Katherine Tullmann (forthcoming). Sympathy & Fascination. British Journal of Aesthetics:ayw003.
    Why do we form strong emotional attachments to unlikeable and immoral characters during our engagements with fictions? These pro-attitudes persist even as we realize that we would loathe these people if we were to encounter them in real-life. In this paper, I explore the implications of the sympathy for the devil phenomenon. I begin by considering several popular explanations, including simulation, aesthetic distancing, pre-focusing, and the ‘best of all characters’. I conclude that each one is inadequate. I then propose my (...)
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  12.  5
    Jack Wadham (forthcoming). The Philosophy of Perception: Phenomenology and Image Theory. British Journal of Aesthetics:ayv011.
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  13.  3
    Michel-Antoine Xhignesse (forthcoming). The Trouble with Poetic Licence. British Journal of Aesthetics:ayv053.
    It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...)
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