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Profile: Andrea Sauchelli (Lingnan University)
  1. Andrea Sauchelli (2014). Horror and Mood. American Philosophical Quarterly 51 (1):39-50.
    Horror is a popular genre or style in many different forms of art. In this essay I propose a definition of horror that is meant to capture our intuitions about the extension of this category over a variety of forms of art. In particular, I claim that horror is individuated by a specific atmosphere and mood, rather than by any singular entity in the horror representation.
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  2. Andrea Sauchelli (forthcoming). Aesthetic Value, Artistic Value, and Morality. In David Coady, Kimberley Brownlee & Kasper Lipper-Rasmussen (eds.), Blackwell Companion to Applied Philosophy. Blackwell 01-26.
    This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.
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  3. Andrea Sauchelli (forthcoming). Buddhist Reductionism, Fictionalism About the Self, and Buddhist Fictionalism. Philosophy East and West 67 (2).
    I discuss an interpretation, recently proposed by Mark Siderits, of the claim that within the Buddhist tradition the self is a convenient fiction. I subsequently propose a novel approach to fictionalism in contemporary metaphysics, outline an application of such an approach to the case of the self and then specify one version of fictionalism combined with some basic tenets of Buddhism.
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  4.  12
    Andrea Sauchelli (forthcoming). The Animal, the Corpse, and the Remnant-Person. Philosophical Studies:1-14.
    I argue that a form of animalism that does not include the belief that ‘human animal’ is a substance-sortal has a dialectical advantage over other versions of animalism. The main reason for this advantage is that Phase Animalism, the version of animalism described here, has the theoretical resources to provide convincing descriptions of the outcomes of scenarios problematic for other forms of animalism. Although Phase Animalism rejects the claim that ‘human animal’ is a substance-sortal, it is still appealing to those (...)
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  5.  15
    Andrea Sauchelli (2016). The Definition of Religion, Super-Empirical Realities and Mathematics. Neue Zeitschrift für Systematicsche Theologie Und Religionsphilosophie 58 (1):67-75.
    Providing a precise definition of “religion”—or an analysis in terms of sufficient and necessary conditions of the concept of religion—has proven to be a difficult task, more so in light of the diverse types of practices considered religious by scholars. Here, I discuss Kevin Schilbrack’s recent definition of “religion”, elaborate it and raise several objections, one of which is based on a specific theory in philosophy of mathematics: mathematical realism.
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  6.  75
    Andrea Sauchelli (2016). The Acquaintance Principle, Aesthetic Judgments, and Conceptual Art. Journal of Aesthetic Education 50 (1):1-15.
    The Acquaintance Principle is the principle according to which judgements concerning the aesthetic value of a work of art proffered by a critic must be based on the critic’s experience(s) or acquaintance with the work itself. The possible exception to this principle would be experiences obtained through other means of transmissibility, related in a particular way to the work in question, that can eventually provide the critic with an adequate basis for judging the artwork. However, recent philosophers claimed that some (...)
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  7. Andrea Sauchelli (2013). La Critica Etica dell'Arte. Aphex 8.
    Alcune opere d'arte manifestano (o suggeriscono di assumere) prospettive morali dubbie e, in certi casi, chiaramente deprecabili. Ad esempio, il documentario propagandista Il Trionfo della Volontà di Leni Riefensthal esprime (e cerca di evocare) ammirazione nei confronti di Adolf Hitler. Nonostante ciò, Il Trionfo della Volontà è considerato un capolavoro nel genere dei documentari. Questo e molti altri esempi simili suggeriscono le seguenti domande: É possibile considerare un'opera d'arte un capolavoro artistico e, allo stesso tempo, un esempio di immoralità? La (...)
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  8. Andrea Sauchelli (2010). Concrete Possible Worlds and Counterfactual Conditionals: Lewis Versus Williamson on Modal Knowledge. Synthese 176 (3):345-359.
    The epistemology of modality is gradually coming to play a central role in general discussions about modality. This paper is a contribution in this direction, in particular I draw a comparison between Lewis’s Modal realism and Timothy Williamson’s recent account of modality in terms of counterfactual thinking. In order to have criteria of evaluation, I also formulate four requirements which are supposed to be met by any theory of modality to be epistemologically adequate.
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  9.  77
    Andrea Sauchelli (2013). Functional Beauty, Perception, and Aesthetic Judgements. British Journal of Aesthetics 53 (1):41-53.
    The concept of functional beauty is analysed in terms of the role played by beliefs, in particular expectations, in our perceptions. After finding various theories of functional beauty unsatisfying, I introduce a novel approach which explains how aesthetic judgements on a variety of different kinds of functional objects (chairs, buildings, cars, etc.) can be grounded in perceptions influenced by beliefs.
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  10.  23
    Andrea Sauchelli (2016). Gendler on the Puzzle of Imaginative Resistance. Acta Analytica 31 (1):1-9.
    Gendler reformulated the so-called imaginability puzzle in terms of authorial breakdown. The main idea behind this move was to isolate the essential features displayed by the alleged problematic cases and to specify a puzzle general enough to be applied to a variety of different types of imaginative resistance. I offer various criticisms of Gendler’s approach to imaginative resistance that also raise some more general points on the recent literature on the topic.
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  11. Andrea Sauchelli (2012). Fictional Objects, Non-Existence, and the Principle of Characterization. Philosophical Studies 159 (1):139-146.
    I advance an objection to Graham Priest’s account of fictional entities as nonexistent objects. According to Priest, fictional characters do not have, in our world, the properties they are represented as having; for example, the property of being a bank clerk is possessed by Joseph K. not in our world but in other worlds. Priest claims that, in this way, his theory can include an unrestricted principle of characterization for objects. Now, some representational properties attributed to fictional characters, a kind (...)
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  12. Paisley Livingston & Andrea Sauchelli (2011). Philosophical Perspectives on Fictional Characters. New Literary History 42 (2):337-360.
    This paper takes up a series of basic philosophical questions about the nature and existence of fictional characters. We begin with realist approaches that hinge on the thesis that at least some claims about fictional characters can be right or wrong because they refer to something that exists, such as abstract objects. Irrealist approaches deny such realist postulations and hold instead that fictional characters are a figment of the human imagination. A third family of approaches, based on work by Alexius (...)
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  13. Andrea Sauchelli (2013). Ontology, Reference, and the Qua Problem: Amie Thomasson on Existence. Axiomathes 23 (3):543-550.
    I argue that Amie Thomasson’s recent theory of the methodology to be applied to find the truth-conditions for claims of existence faces serious objections. Her account is based on Devitt and Sterelny’s solution to the qua problem for theories of reference fixing; however, such a solution cannot be also applied to analyze existential claims.
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  14.  76
    Andrea Sauchelli (2012). On Architecture as a Spatial Art. Nordic Journal of Aesthetics 23 (43):53-64.
    I present and evaluate various criticisms against the view that architecture and architectural value are to be understood solely in terms of internal space. I conclude that the architectural value of a building should not be limited to its internal spatial effects because the value of other elements, such as (non-spatial) function, materials, ornamentation, and so on cannot all be reduced to spatial values.
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  15.  29
    Andrea Sauchelli (2014). Sibley on ‘Beautiful’ and ‘Ugly’. Philosophical Papers 43 (3):377-404.
    Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss an (...)
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  16.  24
    Andrea Sauchelli (2013). The Merited Response Argument and Artistic Categories. Journal of Aesthetics and Art Criticism 71 (3):239-246.
    The merited response argument is an argument in favor of artistic ethicism. According to this view, the interaction between art and morality is such that a moral defect in a work of art negatively influences the work's artistic value (and a moral merit, when relevant, is always an artistic merit). I contend that the argument relies on a criterion of aesthetic and artistic relevance that, when properly understood, fails to constitute a premise that either the artistic contextualist or the autonomist (...)
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  17.  48
    Andrea Sauchelli (2013). Modal Fictionalism, Possible Worlds, and Artificiality. Acta Analytica 28 (4):411-21.
    Accounts of modality in terms of fictional possible worlds face an objection based on the idea that when modal claims are analysed in terms of fictions, the connection between analysans and analysandum seems artificial. Strong modal fictionalism, the theory according to which modal claims are analysed in terms of a fiction, has been defended by, among others, Seahwa Kim, who has recently claimed that the philosophical objection that the connection between modality and fictions is artificial can be met. I propose (...)
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  18.  46
    Andrea Sauchelli (2012). Ethicism and Immoral Cognitivism: Gaut Versus Kieran on Art and Morality. Journal of Aesthetic Education 46 (3):107-118.
    The aims of this paper are (1) to reconstruct the dialectic between two rival theories on the relation between art and morality, (2) to argue against Berys Gaut’s recent defense of ethicism, and (3) to elaborate some of my critical remarks and propose new considerations in favor of immoralism. To a first approximation, an ethicist maintains that the moral value of a work of art, when relevant, is an important element of its artistic value. In particular, assuming that the moral (...)
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  19.  34
    Andrea Sauchelli (2014). Life Extension and the Burden of Mortality: Leon Kass Versus John Harris. Journal of Medical Ethics 40 (5):336-40.
    Some bioethicists have questioned the desirability of a line of biomedical research aimed at extending the length of our lives over what some think to be its natural limit. In particular, Leon Kass has argued that living longer is not such a great advantage, and that mortality is not a burden after all. In this essay, I evaluate his arguments in favour of such a counterintuitive view by elaborating upon some critical remarks advanced by John Harris. Ultimately, I argue that (...)
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  20.  49
    Andrea Sauchelli (2012). Modal Scepticism, Unqualified Modality, and Modal Kinds. Philosophia 40 (2):403-409.
    I formulate and defend two sceptical theses on specific parts of our modal knowledge (unqualified and absolute modalities). My main point is that unqualified modal sentences are defective in that they fail to belong unambiguously to specific modal kinds and thus cannot be evaluated; hence, we must be sceptical of beliefs involving them.
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  21.  40
    Andrea Sauchelli (2012). The Structure and Content of Architectural Experience: Scruton on Architecture as Art. Estetika 49 (1):26-44.
    The notion of architectural experience has been explored by Roger Scruton in an essay in which he provides an account of both its structure and content, along with clarifications of certain key concepts in architectural criticism, such as architectural success and architectural beauty. In this article, I introduce Scruton’s theory and argue that, despite its intuitive appeal, some crucial elements for the appreciation of buildings as works of architecture are not adequately addressed there. I then propose various ways of addressing (...)
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  22.  39
    Andrea Sauchelli (2012). Functional Beauty, Architecture, and Morality: A Beautiful Konzentrationslager? Philosophical Quarterly 62 (246):128-147.
    Some works of architecture have remarkable aesthetic value. According to certain philosophers, part of this value derives from the appearance of such constructions to fulfil the function for which they were built. I argue that one way of understanding the connection between function and aesthetic value resides in the concept of functional beauty. I analyse a number of recent accounts of this notion, then offer a better way of understanding it. I then focus my attention on the relation between aesthetic (...)
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  23.  22
    Andrea Sauchelli, Art and Morality. Oxford Bibliographies Online.
    A great number of works of art, it is commonly claimed, are aesthetically valuable. Some philosophers have even argued that providing an aesthetically pleasing experience is their only proper function. However, some of these artworks display or invite us to adopt an immoral point of view. Even worse, they even seem to make immoral situations delightful and appealing. The following questions thus arise: Does the alleged immorality of these works count as an aesthetic or artistic defect? Can an immoral movie (...)
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  24.  1
    Andrea Sauchelli, Concrete Possible Worlds and Counterfactual Conditionals : Lewis Vs. Williamson on Modal Knowledge.
    The epistemology of modality is gradually coming to play a central role in general discussions about modality. This paper is a contribution in this direction, in particular I draw a comparison between Lewis’s Modal realism and Timothy Williamson’s recent account of modality in terms of counterfactual thinking. In order to have criteria of evaluation, I also formulate four requirements which are supposed to be met by any theory of modality to be epistemologically adequate.
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  25.  1
    Andrea Sauchelli, Ontology, Reference, and the Qua Problem : Amie Thomasson on Existence.
    I argue that Amie Thomasson’s recent theory of the methodology to be applied to find the truth-conditions for claims of existence faces serious objections. Her account is based on Devitt and Sterelny’s solution to the qua problem for theories of reference fixing; however, such a solution cannot be also applied to analyze existential claims.
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  26. Paisley Nathan Livingston & Andrea Sauchelli, Philosophical Perspectives on Fictional Characters.
    This paper takes up a series of basic philosophical questions about the nature and existence of fictional characters. We begin with realist approaches that hinge on the thesis that at least some claims about fictional characters can be right or wrong because they refer to something that exists, such as abstract objects. Irrealist approaches deny such realist postulations and hold instead that fictional characters are a figment of the human imagination. A third family of approaches, based on work by Alexius (...)
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  27. Penelope Miller, Anoop Gupta, Clint Randles, Carla Carmona Escalera, Arne de Boever, Steven Skaggs, Carl R. Hausman & Andrea Sauchelli (2012). Front Matter Front Matter (Pp. I-Iii). Journal of Aesthetic Education 46 (3).
     
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  28. Andrea Sauchelli, Art and Morality.
    A great number of works of art, it is commonly claimed, are aesthetically valuable. Some philosophers have even argued that providing an aesthetically pleasing experience is their only proper function. However, some of these artworks display or invite us to adopt an immoral point of view. Even worse, they even seem to make immoral situations delightful and appealing. The following questions thus arise: Does the alleged immorality of these works count as an aesthetic or artistic defect? Can an immoral movie (...)
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  29. Andrea Sauchelli, Ethicism and Immoral Cognitivism : Gaut Versus Kieran on Art and Morality.
    Berys Gaut has recently defended a theory according to which a moral defect of a work of art represents an aesthetic defect of the work itself. This theory, called ethicism, has been criticized by Matthew Kieran, who argued that, on the contrary, in certain cases moral defects can increase the artistic value of artworks. In this essay I clarify the main points of the debate and claim that Gaut's defense of his theory is not convincing.
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  30. Andrea Sauchelli, Functional Beauty, Architecture, and Morality : A Beautiful Konzentrationslager?
    Some works of architecture have remarkable aesthetic value. According to certain philosophers, part of this value derives from the appearance of such constructions to fulfil the function for which they were built. I argue that one way of understanding the connection between function and aesthetic value resides in the concept of functional beauty. I analyse a number of recent accounts of this notion, then offer a better way of understanding it. I then focus my attention on the relation between aesthetic (...)
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  31. Andrea Sauchelli, Functional Beauty, Perception, and Aesthetic Judgements.
    The concept of functional beauty is analysed in terms of the role played by beliefs, in particular expectations, in our perceptions. After finding various theories of functional beauty unsatisfying, I introduce a novel approach which explains how aesthetic judgements on a variety of different kinds of functional objects can be grounded in perceptions influenced by beliefs.
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  32. Andrea Sauchelli, Fictional Objects, Non-Existence, and the Principle of Characterization.
    I advance an objection to Graham Priest’s account of fictional entities as nonexistent objects. According to Priest, fictional characters do not have, in our world, the properties they are represented as having; for example, the property of being a bank clerk is possessed by Joseph K. not in our world but in other worlds. Priest claims that, in this way, his theory can include an unrestricted principle of characterization for objects. Now, some representational properties attributed to fictional characters, a kind (...)
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  33. Andrea Sauchelli, Horror and Mood.
    George Romero’s Dawn of the Dead and H. P. Lovecraft’s The Dunwich Horror are examples of the same genre: horror. As works of horror, moviegoers to the former and readers of the latter expect a number of things from each work. For example, when we are told that Dawn of the Deadis a horror film, we may have a certain set of expectations about the kind of atmosphere or images we will experience if we watch it. More specifically, we do (...)
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  34. Andrea Sauchelli, Life Extension and the Burden of Mortality : Leon Kass Versus John Harris.
    Some bioethicists have questioned the desirability of a line of biomedical research aimed at extending the length of our lives over what some think to be its natural limit. In particular, Leon Kass has argued that living longer is not such a great advantage, and that mortality is not a burden after all. In this essay, I evaluate his arguments in favour of such a counterintuitive view by elaborating upon some critical remarks advanced by John Harris. Ultimately, I argue that (...)
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  35. Andrea Sauchelli, Modal Fictionalism, Possible Worlds, and Artificiality.
    Accounts of modality in terms of fictional possible worlds face an objection based on the idea that when modal claims are analysed in terms of fictions, the connection between analysans and analysandum seems artificial. Strong modal fictionalism, the theory according to which modal claims are analysed in terms of a fiction, has been defended by, among others, Seahwa Kim, who has recently claimed that the philosophical objection that the connection between modality and fictions is artificial can be met. I propose (...)
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  36. Andrea Sauchelli, Modal Scepticism, Unqualified Modality, and Modal Kinds.
    I formulate and defend two sceptical theses on specific parts of our modal knowledge. My main point is that unqualified modal sentences are defective in that they fail to belong unambiguously to specific modal kinds and thus cannot be evaluated; hence, we must be sceptical of beliefs involving them.
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  37. Andrea Sauchelli, On Architecture as a Spatial Art.
    I present and evaluate various criticisms against the view that architecture and architectural value are to be understood solely in terms of internal space. I conclude that the architectural value of a building should not be limited to its internal spatial effects because the value of other elements, such as function, materials, ornamentation, and so on cannot all be reduced to spatial values.
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  38. Andrea Sauchelli, Sibley on Beautiful and Ugly.
    Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives beautiful and ugly, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective beautiful, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss an (...)
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  39. Andrea Sauchelli, The Merited Response Argument and Artistic Categories.
    The merited response argument is an argument in favor of artistic ethicism. According to this view, the interaction between art and morality is such that a moral defect in a work of art negatively influences the work's artistic value. I contend that the argument relies on a criterion of aesthetic and artistic relevance that, when properly understood, fails to constitute a premise that either the artistic contextualist or the autonomist would accept. I then offer a version of the merited response (...)
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  40. Andrea Sauchelli, The Structure and Content of Architectural Experience : Scruton on Architecture as Art.
    The notion of architectural experience has been explored by Roger Scruton in a essay in which he provides an account of both its structure and content, along with clarifications of certain key concepts in architectural criticism, such as architectural success and architectural beauty. In this article, I introduce Scruton’s theory and argue that, despite its intuitive appeal, some crucial elements for the appreciation of buildings as works of architecture are not adequately addressed there. I then propose various ways of addressing (...)
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