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Profile: Anthony Savile (King's College London)
  1.  6
    Anthony Savile (1987). Aesthetic Reconstructions: The Seminal Writings of Lessing, Kant, and Schiller. B. Blackwell.
  2.  55
    Anthony Savile (1963). Mr. Wheatley on Virtue. Analysis 23 (4):93 - 95.
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  3.  89
    Anthony Savile (1993). The Rationale of Restoration. Journal of Aesthetics and Art Criticism 51 (3):463-474.
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  4. Anthony Savile (1998). Imagination and the Content of Fiction. British Journal of Aesthetics 38 (2):136-149.
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  5. Anthony Savile (2005). Kant's Critique of Pure Reason: An Orientation to the Central Theme. Wiley-Blackwell.
    This fresh orientation to Kant's _Critique of Pure Reason_ presents his central theme, the development of his Transcendental Idealism, as a ground-breaking response to perceived weaknesses in his predecessors' accounts of experiential knowledge. Traces the central theme of the Critique, the development of Kant's Transcendental Idealism. Offers new and original readings of the central arguments in both the Transcendental Aesthetic and the Transcendental Analytic. Appraises the success and failure of Kant's project in the _Critique_.
     
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  6.  2
    Colin Lyas & Anthony Savile (1994). Kantian Aesthetics Pursued. Philosophical Quarterly 44 (175):270.
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  7. Paul Guyer, Nick Zangwill, Christopher Janaway, Anthony Savile, Eva Schaper, Malcolm Budd, Donald W. Crawford, Brigitte Sassen, Lambert Zuidevaart, Jane Kneller, Peter McLaughlin & Henry E. Allison (2003). Kant's Critique of the Power of Judgment: Critical Essays. Rowman & Littlefield Publishers.
    Includes twelve of the most important modern critical discussions of the Critique of the Power of Judgment, written by the leading Kant scholars and aestheticians of the twentieth century.
     
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  8.  76
    Anthony Savile (1971). Nelson Goodman's ‘Languages of Art’: A Study. British Journal of Aesthetics 11 (1):3-27.
    Reviews goodman's claims about representation, Expression and identity of works of art. Claims that the underlying nominalist logic effectively prohibits our understanding of these notions (pace goodman) and leaves everything which is of specific artistic and aesthetic interest out of account.
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  9.  16
    Anthony Savile (2015). A History of Modern Aesthetics. British Journal of Aesthetics 55 (3):406-409.
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  10.  24
    Anthony Savile (2008). Sentimentality. In Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates. Routledge 223--227.
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  11.  83
    Anthony Savile (1977). On Passing the Test of Time. British Journal of Aesthetics 17 (3):195-209.
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  12. Anthony Savile (2005). Kant's Critique of Pure Reason: An Orientation to the Central Theme. Wiley-Blackwell.
    This fresh orientation to Kant's _Critique of Pure Reason_ presents his central theme, the development of his Transcendental Idealism, as a ground-breaking response to perceived weaknesses in his predecessors' accounts of experiential knowledge. Traces the central theme of the Critique, the development of Kant's Transcendental Idealism. Offers new and original readings of the central arguments in both the Transcendental Aesthetic and the Transcendental Analytic. Appraises the success and failure of Kant's project in the _Critique_.
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  13.  71
    Anthony Savile (2002). Review: Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. [REVIEW] Mind 111 (442):355-360.
  14.  59
    Anthony Savile (1981). Objectivity in Aesthetic Judgement: Eva Schaper on Kant. British Journal of Aesthetics 21 (4):363-369.
  15.  48
    Anthony Savile (1973). New Books. [REVIEW] Mind 82 (328):618-619.
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  16.  26
    Anthony Savile & Richard Wollheim (1986). Imagination and Pictorial Understanding. Aristotelian Society Supplementary Volume 60:19 - 60.
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  17.  23
    Anthony Savile (1972). Leibniz's Contribution to the Theory of Innate Ideas. Philosophy 47 (180):113 - 124.
    Does Leibniz really worst Locke in respect of innate ideas, as is frequently supposed, or does Locke emerge more or less whole from their epistemological dispute? I shall here argue that Leibniz does far less well than we might like to believe and that his substantive proposals, where not entirely innocuous, contain little that would appeal to anyone interested in a modern form of the innateness thesis.
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  18.  49
    Anthony Savile (2000). The Lamp of Memory. European Journal of Philosophy 8 (1):89–105.
    Book reviewed in this article:John Ruskin, The Seven Lamps of Architecture.
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  19.  17
    Anthony Savile (1982). The Test of Time: An Essay in Philosophical Aesthetics. Oxford University Press.
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  20.  45
    Anthony Savile (2006). Imagination and Aesthetic Value. British Journal of Aesthetics 46 (3):248-258.
    One issue for theory is to account convincingly for the value of art and the significance of its specifically aesthetic character. Appeal to imagination, understood along Kantian lines as functioning to construct ‘a second nature from the material supplied by actual nature’, generates suggestive answers to both aspects of the task. The second nature that the artist inventively constructs in fine representation is one in which themes central to the inner life are revealed in ways as unestranging to us as (...)
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  21.  36
    Anthony Savile (1996). Instrumentalism and the Interpretation of Narrative. Mind 105 (420):553-576.
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  22.  31
    Anthony Savile (2007). Critical Notice: The Objective Eye. British Journal of Aesthetics 47 (4):432-440.
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  23.  8
    Anthony Savile (1968). The Place of Intention in the Concept of Art. Proceedings of the Aristotelian Society 69:101 - 124.
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  24.  6
    Anthony Savile & Alan Tormey (1972). The Concept of Expression: A Study in Philosophical Psychology and Aesthetics. Philosophical Quarterly 22 (89):378.
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  25.  20
    Anthony Savile (2002). Aesthetic Experience in Shaftesbury: Anthony Savile. Aristotelian Society Supplementary Volume 76 (1):55–74.
    [Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in (...)
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  26.  2
    Anthony Savile (1963). Note on Taylor's "Fatalism". Analysis 23 (4):96.
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  27.  18
    C. J. F. Williams, Anthony Savile, Richard Norman, Robert Black, R. G. Swinburne, David Holdcroft, Eva Schaper, Thomas McPheron & Karl Britton (1973). New Books. [REVIEW] Mind 82 (328):617-638.
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  28.  2
    Anthony Savile (2005). Review: Kirwan, The Aesthetic in Kant: A Critique. Kantian Review 10 (1):150-153.
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  29.  13
    Anthony Savile (2003). Spinoza, Medea, and Irrationality in Action. Dialogue 42 (4):767.
    Nous ecartons ici deux tentatives visant a rendre compte de l’irrationalite de l’action akratique au sein du systeme de Spinoza: celle contenue dans Spinoza meme et une seconde toute recente, due a della Rocca, qui pretend parler au nom de Spinoza. Nous tracons a larges traits une troisieme voie, laquelle n’est pas manifestement en porte-a-faux avec les principes de la psychologie morale de Spinoza. Cette tentative tourne autour d’une conception du conatus integrant un element normatif et subjectif, soit le besoin (...)
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  30.  15
    Anthony Savile (1977). Progress and Common Sense: Two Approaches to a Problem in Criticism. British Journal of Aesthetics 17 (4):305-319.
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  31.  4
    Anthony Savile (2012). Is There Still Life in Still Life? Royal Institute of Philosophy Supplement 71:67-84.
    In his literary autobiography, Le vent Paraclet , Michel Tournier records how during his time at the Lycée Pasteur in Neuilly he and his fellow classmates found a source of great hilarity in their favourite bêtisier , a volume called Pensées de Pascal , in which one learns that painting is a frivolous exercise that consists in imperfectly reproducing objects that are themselves quite worthless. Fairness to Pascal – far from Tournier's mind in those early days – demands that that (...)
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  32.  2
    Anthony Savile (1983). The Test of Time. Philosophy 58 (225):411-412.
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  33.  4
    Anthony Savile (2005). Review: Kirwan, The Aesthetic in Kant: A Critique. [REVIEW] Kantian Review 10 (1):150-153.
  34.  9
    Anthony Savile (1978). Tradition and Interpretation. Journal of Aesthetics and Art Criticism 36 (3):303-316.
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  35.  2
    Anthony Savile & Godfrey Vesey (1974). Philosophy and the Arts. Royal Institute of Philosophy Lectures Vol. VI, 1971-72. Philosophical Quarterly 24 (96):284.
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  36.  2
    Anthony Savile (2007). Review: Guyer, Values of Beauty: Historical Essays in Aesthetics. [REVIEW] Kantian Review 12 (2):189-194.
  37.  1
    Anthony Savile (1996). The Heart of History. Proceedings of the Aristotelian Society 96:197 - 213.
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  38.  1
    Anthony Savile (2000). The Sirens' Serenade. Royal Institute of Philosophy Supplement 47:237-254.
    How are the beautiful and the good related? A popular answer to this ancient question takes it that to call something beautiful is just to bring it under the most general term of favourable aesthetic assessment and that since the good is in general what we reflectively want then, crudely put, the beautiful is the good's aesthetic dimension. Following this train of thought, we avoid the suggestion that there is any intimate connection between the beautiful and some more narrowly conceived (...)
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  39.  2
    Anthony Savile (1989). Narrative Theory: Ancient or Modern? Philosophical Papers 18 (1):27-51.
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  40.  2
    Anthony Savile (1967). Book Reviews. [REVIEW] British Journal of Aesthetics 7 (4):458-459.
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  41.  1
    Anthony Savile (1989). Book Reviews. [REVIEW] British Journal of Aesthetics 29 (2):458-459.
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  42. William Charlton & Anthony Savile (1979). The Art of Apelles. Aristotelian Society Supplementary Volume 53:167 - 206.
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  43. Anthony Savile (1989). "Desconocida Raiz Común: ": Felipe Martínez Marzoa. [REVIEW] British Journal of Aesthetics 29 (2):181.
     
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  44. Anthony Savile (1967). "I Problemi Dell' Estetica": Luigi Pareyson. [REVIEW] British Journal of Aesthetics 7 (4):389.
     
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  45. Anthony Savile (2008). Kant's Critique of Pure Reason: An Orientation to the Central Theme. Wiley-Blackwell.
    This fresh orientation to Kant's _Critique of Pure Reason_ presents his central theme, the development of his Transcendental Idealism, as a ground-breaking response to perceived weaknesses in his predecessors' accounts of experiential knowledge. Traces the central theme of the Critique, the development of Kant's Transcendental Idealism. Offers new and original readings of the central arguments in both the Transcendental Aesthetic and the Transcendental Analytic. Appraises the success and failure of Kant's project in the _Critique_.
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  46. Anthony Savile (2008). Kant's Critique of Pure Reason: An Orientation to the Central Theme. Wiley-Blackwell.
    This fresh orientation to Kant's _Critique of Pure Reason_ presents his central theme, the development of his Transcendental Idealism, as a ground-breaking response to perceived weaknesses in his predecessors' accounts of experiential knowledge. Traces the central theme of the Critique, the development of Kant's Transcendental Idealism. Offers new and original readings of the central arguments in both the Transcendental Aesthetic and the Transcendental Analytic. Appraises the success and failure of Kant's project in the _Critique_.
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  47. Anthony Savile (1974). Kant, Truth, and Affinity. In Gerhard Funke (ed.), Akten des 4. Internationalen Kant-Kongresses. Walter de Gruyter 2:336-343.
     
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  48. Anthony Savile (2002). Leibniz and the Monadology. Philosophical Quarterly 52 (208):392-393.
     
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  49. Anthony Savile (1978). René Descartes: Grandeur et Misère. Canadian Journal of Philosophy, Supplementary Volume 4:13.
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  50.  25
    Anthony Savile (2000). Routledge Philosophy Guidebook to Leibniz and the Monadology. Routledge.
    Anthony Savile clearly identifies the intellectual assumptions that underlie Leibniz's thought and locates the text within Leibniz's larger philosophical ...
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