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  1. Aaron Ridley (2003). Against Musical Ontology. Journal of Philosophy 100 (4):203 - 220.
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  2. Keith Ansell Pearson, Babette Babich, Eric Blondel, Daniel Conway, Ken Gemes, Jürgen Habermas, Salim Kemal, Paul S. Loeb, Mark Migotti, Wolfgang Müller-Lauter, Alexander Nehamas, David Owen, Robert Pippin, Aaron Ridley, Gary Shapiro, Alan Schrift, Tracy Strong, Christine Swanton & Yirmiyahu Yovel (2006). Nietzsche's on the Genealogy of Morals: Critical Essays. Rowman & Littlefield Publishers.
    In this astonishingly rich volume, experts in ethics, epistemology, philosophy of mind, political theory, aesthetics, history, critical theory, and hermeneutics bring to light the best philosophical scholarship on what is arguably Nietzsche's most rewarding but most challenging text. Including essays that were commissioned specifically for the volume as well as essays revised and edited by their authors, this collection showcases definitive works that have shaped Nietzsche studies alongside new works of interest to students and experts alike. A lengthy introduction, annotated (...)
     
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  3.  15
    Aaron Ridley (forthcoming). Why Ethics and Aesthetics Are Practically the Same. Philosophical Quarterly:pqv069.
    Discussion of the relations between ethics and aesthetics has tended to focus on issues concerning judgement: for example, philosophers have often asked whether, or to what extent, ethical considerations of one sort or another should inform aesthetic verdicts. Much less discussed, however, have been the relations between these two domains in their practical aspects. In this paper, I try to defuse a cluster of reasons for believing that practical competence in the ethical domain and practical competence in the aesthetic domain (...)
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  4. Aaron Ridley (1995). Musical Sympathies: The Experience of Expressive Music. Journal of Aesthetics and Art Criticism 53 (1):49-57.
  5.  7
    Aaron Ridley (2014). On the Musically Possible. British Journal of Aesthetics 54 (1):1-14.
    It seems natural to suppose that Artur Schnabel’s occasionally inaccurate performance of Beethoven’s Hammerklavier would have been even better had it been accurate throughout. In the present paper I defend this supposition against a sceptical argument which purports to show that we have no good reason to believe it. The sceptical argument, which draws on some plausible-seeming thoughts about aesthetic properties, concludes that, because we cannot know whether this or that (as-yet-unachieved) musical result is so much as possible, we have (...)
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  6.  13
    Aaron Ridley, The Philosophy of Music: Theme and Variations.
    Ridley's book is both an introduction to philosophy of music generally and an introduction to an individual, pungently flavoured philosophy of music. His arguments are lively and provocative, and to boot, he writes like a dream. This is the kind of book that reminds one why philosophy matters, especially as applied to the things we love most.-Jerrold Levinson, professor of philosophy, University of Maryland This outstanding book provides new and distinctive approaches to the five central topics of musical aesthetics: understanding, (...)
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  7.  47
    Aaron Ridley (1989). Book Reviews. [REVIEW] British Journal of Aesthetics 29 (2):419-420.
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  8.  75
    Aaron Ridley (2012). Musical Ontology, Musical Reasons. The Monist 95 (4):663-683.
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  9.  38
    Aaron Ridley (1995). Book Reviews. [REVIEW] British Journal of Aesthetics 35 (2):419-420.
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  10. Maria Alvarez & Aaron Ridley (2007). The Concept of Moral Obligation: Anscombe Contra Korsgaard. Philosophy 82 (4):543-552.
    A number of recent writers have expressed scepticism about the viability of a specifically moral concept of obligation, and some of the considerations offered have been interesting and persuasive. This is a scepticism that has its roots in Nietzsche, even if he is mentioned only rather rarely in the debate. More proximately, the scepticism in question receives seminal expression in Elizabeth Anscombe's 1958 essay, ‘Modern Moral Philosophy’, a piece that is often paid lip-service to, but—like Nietzsche's work—has only rarely been (...)
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  11.  11
    Aaron Ridley (1998). Nietzsche's Conscience: Six Character Studies From the 'Genealogy'. Cornell University Press.
    Aaron Ridley explores Nietzsche's mature ethical thought as expressed in his masterpiece On the Genealogy of Morals. Taking seriously the use that Nietzsche makes of human types, Ridley arranges his book thematically around the six characters who loom largest in that work—the slave, the priest, the philosopher, the artist, the scientist, and the noble. By elucidating what the Genealogy says about these figures, he achieves a persuasive new assessment of Nietzsche's ethics. Ridley's intellectually supple interpretation reveals Nietzsche's ethical position to (...)
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  12.  32
    Aaron Ridley (1996). Book Reviews. [REVIEW] British Journal of Aesthetics 36 (3):419-420.
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  13.  31
    Aaron Ridley (1991). Book Reviews. [REVIEW] British Journal of Aesthetics 31 (4):419-420.
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  14.  13
    Aaron Ridley (2009). Nietzsche's Intentions: What the Sovereign Individual Promises. In Ken Gemes & Simon May (eds.), Nietzsche on Freedom and Autonomy. Oxford University Press 181--196.
  15.  16
    Aaron Ridley (1995). Music, Value, and the Passions. Cornell University Press.
  16.  64
    Geoffrey C. Madell & Aaron Ridley (1997). Emotion and Feeling. Proceedings of the Aristotelian Society 71 (71):147-176.
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  17. Maria Alvarez & Aaron Ridley (2005). Nietzsche on Language: Before and After Wittgenstein. Philosophical Topics 33 (2):1-17.
  18. Aaron Ridley & Alex Neill (eds.) (2007). Arguing About Art (3rd Ed.). Routledge.
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  19.  34
    Aaron Ridley (1997). Emotion and Feeling: Aaron Ridley. Aristotelian Society Supplementary Volume 71 (1):163–176.
  20.  25
    Aaron Ridley (2005). Vi *-Nietzsche and the Re-Evaluation of Values. Proceedings of the Aristotelian Society 105 (1):155-175.
    This paper offers an account of Nietzsche's re-evaluation of values that seeks to satisfy two desiderata, both important if Nietzsche's project is to stand a chance of success. The first is that Nietzsche's re-evaluations must be capable of being understood as authoritative by those whose values are subject to re-evaluation. The second is that Nietzsche's project must not falsify the values being re-evaluated, by, for example, misrepresenting intrinsic values as instrumental values. Given this, five possible forms of re-evaluation are distinguished, (...)
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  21.  30
    Aaron Ridley (1993). Tragedy and the Tender-Hearted. Philosophy and Literature 17 (2):234-245.
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  22.  75
    Aaron Ridley (2005). Nietzsche and the Re-Evaluation of Values. Proceedings of the Aristotelian Society 105 (2):155 - 175.
    This paper offers an account of Nietzsche's re-evaluation of values that seeks to satisfy two desiderata, both important if Nietzsche's project is to stand a chance of success. The first is that Nietzsche's re-evaluations must be capable of being understood as authoritative by those whose values are subject to re-evaluation. The second is that Nietzsche's project must not falsify the values being re-evaluated, by, for example, misrepresenting intrinsic values as instrumental values. Given this, five possible forms of re-evaluation are distinguished, (...)
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  23.  22
    David Owen & Aaron Ridley (2003). On Fate. International Studies in Philosophy 35 (3):63-78.
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  24. Aaron Ridley & Judith Norman (eds.) (2005). Nietzsche: The Anti-Christ, Ecce Homo, Twilight of the Idols: And Other Writings. Cambridge University Press.
    Nietzsche's late works are brilliant and uncompromising, and stand as monuments to his lucidity, rigour, and style. This volume combines, for the first time in English, five of these works: The Antichrist, Ecce Homo, Twilight of the Idols, Nietzsche contra Wagner, and The Case of Wagner. Here, Nietzsche takes on some of his greatest adversaries: traditional religion, contemporary culture, and above all his one-time hero, the composer Richard Wagner. His writing is simultaneously critical and creative, putting into practice his alternative (...)
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  25.  49
    Alex Neill & Aaron Ridley (1991). Burning Passions. Analysis 51 (2):106 - 108.
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  26.  69
    Aaron Ridley (2005). Guilt Before God, or God Before Guilt? The Second Essay of Nietzsche's Genealogy. Journal of Nietzsche Studies 29 (1):35-45.
  27.  61
    Aaron Ridley (1993). Pitiful Responses to Music. British Journal of Aesthetics 33 (1):72-74.
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  28. Alex Neill & Aaron Ridley (1990). Noël Carroll, Mystifying Movies: Fads and Fallacies in Contemporary Film Theory Reviewed By. Philosophy in Review 10 (9):345-351.
     
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  29. Aaron Ridley (2005). Tragedy. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford
     
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  30.  60
    Aaron Ridley (2001). Book Review. Of Mind and Music Laird Addis. [REVIEW] Mind 110 (438):423-427.
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  31.  40
    Aaron Ridley (1997). Not Ideal: Collingwood's Expression Theory. Journal of Aesthetics and Art Criticism 55 (3):263-272.
  32.  41
    Aaron Ridley (1996). Nietzsche's Conscience. Journal of Nietzsche Studies 11:1-12.
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  33.  14
    Aaron Ridley (1995). F.H. Bradley. Bradley Studies 1 (2):107-115.
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  34.  54
    Aaron Ridley (1996). The Philosophy of Medium-Grade Art. British Journal of Aesthetics 36 (4):413-413.
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  35.  8
    Aaron Ridley (1992). Desire in the Experience of Fiction. Philosophy and Literature 16 (2):279-291.
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  36. Aaron Ridley (1998/1999). R.G. Collingwood: A Philosophy of Art. Phoenix.
    Many philosophers have been interested in aesthetics, but Collingwood was passionate about art. His theories were never merely theoretical: aesthetics for him was a vivid, vibrant thing, to be experienced immediately in worked paint and in sculptured stones, in poetry and music. Art and life were no dichotomy for Collingwood - for how could you have one without the other? Works of art were created in and for the real world, to be enjoyed by real people, to enchant to enhance. (...)
     
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  37. Aaron Ridley (2005). Expression in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford
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  38. Aaron Ridley (2007). Persona Sometimes Grata : On the Appreciation of Expressive Music. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press
     
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  39.  39
    Aaron Ridley (1986). Mr Mew on Music. British Journal of Aesthetics 26 (1):69-70.
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  40.  32
    Aaron Ridley (2007). Nietzsche on Art and Freedom. European Journal of Philosophy 15 (2):204–224.
    There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...)
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  41. Alex Neill & Aaron Ridley (1990). Kristin Thompson, Breaking the Glass Armor: Neoformalist Film Analysis Reviewed By. Philosophy in Review 10 (9):345-351.
     
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  42.  8
    Aaron Ridley (2012). Brilliant Performances. Royal Institute of Philosophy Supplement 71:209-227.
    I am generally unsympathetic to the project, pursued by many recent philosophers of music, of attempting to specify the identity conditions for musical works – of attempting to specify the conditions that something, typically a performance, must satisfy if it is to count as an instance of this or that work. Call this the identity-project. Elsewhere, I have suggested that any such project is fundamentally misconceived. Here, however, I want simply to explore a couple of the difficulties with which the (...)
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  43.  28
    Aaron Ridley (1993). Bleeding Chunks: Some Remarks About Musical Understanding. Journal of Aesthetics and Art Criticism 51 (4):589-596.
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  44. Aaron Ridley (2000). 6 Science in the Service of Life. In M. W. F. Stone & Jonathan Wolff (eds.), The Proper Ambition of Science. Routledge 2--91.
     
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  45.  17
    Aaron Ridley (1997). Nietzsche's Greatest Weight. Journal of Nietzsche Studies 14:19-25.
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  46.  23
    Aaron Ridley (1998). A Nietzche Round-Up. [REVIEW] Philosophical Quarterly 48 (191):235–242.
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  47.  12
    Aaron Ridley (2005). Nietzsche on Language. Philosophical Topics 33 (2):1-17.
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  48.  2
    Aaron Ridley (1995). F.H. Bradley: Relations and Regresses. Bradley Studies 1 (2):107-115.
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  49.  21
    Aaron Ridley (1998). Collingwood's Commitments: A Reply to Hausman and Dilworth. Journal of Aesthetics and Art Criticism 56 (4):396-398.
  50.  6
    Aaron Ridley, Nietzsche and Music.
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