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  1. Aaron Ridley (forthcoming). Nietzsche's Conscience. Journal of Nietzsche Studies.
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  2. Aaron Ridley (forthcoming). Nietzsche's Greatest Weight. Journal of Nietzsche Studies.
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  3. Aaron Ridley (forthcoming). Review: Ancillary Thoughts on an Ancillary Text. [REVIEW] Journal of Nietzsche Studies.
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  4. 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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  5. Aaron Ridley (2012). Brilliant Performances. Royal Institute of Philosophy Supplement 71:209-227.
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  6. Aaron Ridley (2012). Musical Ontology, Musical Reasons. The Monist 95 (4):663-683.
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  7. Aaron Ridley, Nietzsche and Music.
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  8. Aaron Ridley, Nietzsche and the Arts of Life.
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  9. 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.
  10. Alex Neill & Aaron Ridley (eds.) (2008). Arguing About Art: Contemporary Philosophical Debates. Routledge.
    Arguing about Art, 2nd Edition is an expanded and revised new edition of this highly acclaimed anthology. This lively collection presents twenty-seven readings in a clear and accessible format discussing the major themes and arguments in aesthetics. Alex Neill and Aaron Ridley's introductions provide a balanced account of each topic and highlight the important questions that are raised in the readings. The new sections of the book are: The Art of Food; Rock Music and Culture; Enjoying Horror; Art and Morality (...)
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  11. 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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  12. Aaron Ridley (2007). Musical Expression. Expression in Music / Derek Matravers ; Explaining Musical Experience / Paul Boghossian ; 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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  13. 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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  14. 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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  15. Aaron Ridley & Alex Neill (eds.) (2007). Arguing About Art (3rd Ed.). Routledge.
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  16. 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.
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  17. Aaron Ridley (2006). Routledge Philosophy Guidebook to Nietzsche on Art. Routledge.
    Presenting some of Nietzsche's most significant thoughts on art and literature, this enthralling account traces the development of his thinking throughout his ...
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  18. Maria Alvarez & Aaron Ridley (2005). Nietzsche on Language: Before and After Wittgenstein. Philosophical Topics 33 (2):1-17.
  19. 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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  20. Aaron Ridley (2005). Expression in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oup Oxford.
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  21. 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.
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  22. Aaron Ridley (2005). Nietzsche on Language. Philosophical Topics 33 (2):1-17.
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  23. Aaron Ridley (2005). Tragedy. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oup Oxford.
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  24. 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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  25. 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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  26. Against Musical Ontology & Aaron Ridley (2003). The Scope Argument, MICHAEL O'ROURKE. Journal of Philosophy 100 (3).
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  27. David Owen & Aaron Ridley (2003). On Fate. International Studies in Philosophy 35 (3):63-78.
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  28. Aaron Ridley (2003). Against Musical Ontology. Journal of Philosophy 100 (4):203 - 220.
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  29. Aaron Ridley, Critical Conversions.
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  30. Alex Neill & Aaron Ridley (eds.) (2002). Arguing About Art, Second Edition. Routledge.
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  31. Aaron Ridley (2002). Congratulations, It's a Tragedy: Collingwood's Remarks on Genre. British Journal of Aesthetics 42 (1):52-63.
    This essay argues that R.G. Collingwood's remarks about genre are implausible, and that they stem, despite their apparent origin in his wider account of art, from his failure to take some of his own most important insights seriously enough. Some possible reasons for that failure are suggested; and it is shown that, once the relevant insights are given their proper weight, Collingwood's account commands the resources from which a plausible story about genre might have been constructed. To this extent, the (...)
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  32. Ruben Berrios & Aaron Ridley (2001). Nietzsche. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  33. Aaron Ridley (2001). Book Review. Of Mind and Music Laird Addis. [REVIEW] Mind 110 (438):423-427.
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  34. Aaron Ridley (2001). Nietzsche's Ethics and His War on ‘Morality’ by Simon May, Oxford University Press, 1999, Pp. 212, £30. Philosophy 76 (3):460-475.
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  35. David Owen & Aaron Ridley, Dramatis Personae: Nietzsche as Cultural Physician.
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  36. 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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  37. Aaron Ridley (1998). A Nietzche Round-Up. [REVIEW] Philosophical Quarterly 48 (191):235–242.
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  38. Aaron Ridley (1998). Collingwood's Commitments: A Reply to Hausman and Dilworth. Journal of Aesthetics and Art Criticism 56 (4):396-398.
  39. 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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  40. Aaron Ridley (1998). Review: A Nietzsche Round-Up. [REVIEW] Philosophical Quarterly 48 (191):235 - 242.
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  41. 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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  42. Aaron Ridley (1998). What is the Meaning of Aesthetic Ideals. In Salim Kemal, Ivan Gaskell & Daniel W. Conway (eds.), Nietzsche, Philosophy and the Arts. Cambridge University Press.
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  43. Geoffrey C. Madell & Aaron Ridley (1997). Emotion and Feeling. Proceedings of the Aristotelian Society 71 (71):147-176.
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  44. Aaron Ridley (1997). Book Reviews. [REVIEW] British Journal of Aesthetics 37 (2):419-420.
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  45. Aaron Ridley (1997). Emotion and Feeling: Aaron Ridley. Aristotelian Society Supplementary Volume 71 (1):163–176.
  46. Aaron Ridley (1997). Not Ideal: Collingwood's Expression Theory. Journal of Aesthetics and Art Criticism 55 (3):263-272.
  47. Aaron Ridley (1996). Book Reviews. [REVIEW] British Journal of Aesthetics 36 (3):419-420.
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  48. Aaron Ridley (1996). The Philosophy of Medium-Grade Art. British Journal of Aesthetics 36 (4):413-413.
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  49. Aaron Ridley (1995). Book Reviews. [REVIEW] British Journal of Aesthetics 35 (2):419-420.
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  50. Aaron Ridley (1995). F.H. Bradley. Bradley Studies 1 (2):107-115.
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