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Berys Gaut [47]Berys Nigel Gaut [7]
  1. Berys Nigel Gaut (2007). Art, Emotion and Ethics. Oxford University Press.
    The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.
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  2. Garrett Cullity & Berys Nigel Gaut (eds.) (1997). Ethics and Practical Reason. Oxford University Press.
    These thirteen new, specially written essays by a distinguished international line-up of contributors, including some leading contemporary moral philosophers, give a rich and varied view of current work on ethics and practical reason. The three main perspectives on the topic, Kantian, Humean, and Aristotelian, are all well represented. Issues covered include: the connection between reason and motivation; the source of moral reasons and their relation to reasons of self-interest; the relation of practical reason to value, to freedom, to responsibility, and (...)
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  3. Berys Gaut (1998). The Ethical Criticism of Art. In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. Cambridge University Press 182--203.
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  4. Berys Nigel Gaut (1998). Just Joking: The Ethics and Aesthetics of Humor. Philosophy and Literature 22 (1):51-68.
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  5.  18
    Berys Gaut (2010). A Philosophy of Cinematic Art. Cambridge.
    A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.
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  6. Berys Gaut (2005). The Cluster Account of Art Defended. British Journal of Aesthetics 45 (3):273-288.
    This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.
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  7.  70
    Berys Nigel Gaut & Paisley Livingston (eds.) (2003). The Creation of Art: New Essays in Philosophical Aesthetics. Cambridge University Press.
    Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this new collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas (...)
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  8.  94
    Berys Gaut (2010). The Philosophy of Creativity. Philosophy Compass 5 (12):1034-1046.
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  9. Berys Gaut (2007). Art, Emotion and Ethics. Oxford University Press Uk.
    Art, Emotion and Ethics is a systematic investigation of the relation of art to morality, a topic that has been of central and recurring interest to the philosophy of art since Plato. Berys Gaut explores the various positions that have been taken in this debate, and argues that an artwork is always aesthetically flawed insofar as it possesses a moral defect that is aesthetically relevant. Three main arguments are developed for this view; these involve showing how moral goodness is itself (...)
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  10. Berys Gaut (1993). The Paradox of Horror. British Journal of Aesthetics 33 (4):333-345.
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  11.  6
    Berys Gaut (2011). Telling Stories. In Noel Carroll & John Gibson (eds.), Narrative, Emotion, and Insight. Penn State University 23.
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  12.  43
    Berys Nigel Gaut & Dominic Lopes (eds.) (2001). The Routledge Companion to Aesthetics. Routledge.
    The Routledge Companion to Aesthetics is an indispensable guide and reference source to the major thinkers and topics in aesthetics. Forty-six new entries by a team of renowned international contributors provide clear and up-to-date entries under four headings: historical, from Plato to Derrida; aesthetic theory, from definitions of art to pictorial representation; issues and challenges, from criticism to feminist aesthetics; and the individual arts, from literature to theatre.
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  13.  42
    Berys Gaut (2012). Creativity and Rationality. Journal of Aesthetics and Art Criticism 70 (3):259-270.
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  14.  22
    Berys Gaut (2004). The Philosophy of the Movies : Cinematic Narration. In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell Pub. 230--253.
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  15.  87
    Berys Gaut (1993). Moral Pluralism. Philosophical Papers 22 (1):17-40.
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  16. Berys Gaut (2010). Empathy and Identification in Cinema. Midwest Studies in Philosophy 34 (1):136-157.
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  17.  24
    Berys Gaut (2014). Mixed Motivations: Creativity as a Virtue. Royal Institute of Philosophy Supplement 75:183-202.
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  18. Berys Gaut (1995). The Enjoyment Theory of Horror: A Response to Carroll. British Journal of Aesthetics 35 (3):284-289.
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  19.  33
    Berys Gaut (1999). Rag-Bags, Disputes and Moral Pluralism. Utilitas 11 (1):37.
    Moral pluralism of the kind associated with W. D. Ross is the doctrine that there is a plurality of moral principles, which in their application to particular cases can conflict, and that there is no further principle to determine which of these principles takes priority in cases of conflict. Two objections are commonly advanced against this kind of pluralism: that it proposes a rag-bag of moral principles lacking a unifying basis; and that it offers no way to adjudicate moral disputes (...)
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  20. Berys Gaut (1997). Film Authorship and Collaboration. In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press 149--172.
     
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  21.  43
    Berys Gaut (1997). Metaphor and the Understanding of Art. Proceedings of the Aristotelian Society 97 (3):223–241.
  22.  57
    Berys Gaut (2010). Nehamas on Beauty and Love. British Journal of Aesthetics 50 (2):199-204.
    In Only a Promise of Happiness Alexander Nehamas holds that beauty is the object of love. I raise three objections to this claim when formulated in terms of personal love: love is too narrow in scope to be the attitude whose formal object is beauty; one can experience a person's beauty but have no love for her; and love is of particulars, not of attributes, however specific, such as beauty. A second kind of love, hedonic love, is too broad in (...)
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  23.  38
    Berys Gaut (2001). Art and Ethics. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge 341--352.
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  24.  41
    Berys Gaut (1993). Interpreting the Arts: The Patchwork Theory. Journal of Aesthetics and Art Criticism 51 (4):597-609.
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  25.  47
    Berys Gaut (2002). Cinematic Art. Journal of Aesthetics and Art Criticism 60 (4):299–312.
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  26.  12
    Berys Gaut (2003). Art and Knowledge. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press 439--441.
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  27. Berys Gaut (2002). Justifying Moral Pluralism. In Philip Stratton-Lake (ed.), Ethical Intuitionism: Re-Evaluations. Clarendon Press
     
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  28.  13
    Berys Gaut & Samuel Kerstein (1999). The Derivation Without the Gap: Rethinking Groundwork I. Kantian Review 3 (1):18-40.
    At the core of Kant's Groundwork of the Metaphysics of Morals lies his ‘derivation’ of the categorical imperative: his attempt to establish that, if there is a supreme principle of morality, then it is this imperative. Kant's argument for this claim is one of the most puzzling in his corpus. The received view, championed by Aune and Allison, is that there is a fundamental gap in the argument, which Kant elides by means of a simple but deadly confusion, thus robbing (...)
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  29.  7
    Berys Gaut (2009). Opaque Pictures. Revue Internationale de Philosophie 4:381-396.
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  30.  28
    Berys Gaut (1997). Analytic Philosophy of Film: History, Issues, Prospects. Philosophical Books 38 (3):145-156.
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  31.  36
    Berys Gaut (1998). Imagination, Interpretation, and Film. Philosophical Studies 89 (2-3):331-341.
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  32.  7
    Berys Gaut (1996). Truth, Fiction, and Literature. Philosophical Review 105 (1):84-86.
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  33.  7
    Berys Gaut (1998). Image and Mind. Philosophical Review 107 (1):138-140.
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  34.  12
    Berys Gaut (1996). Review: Truth, Fiction, and Literature. [REVIEW] Philosophical Review 105 (1):84-86.
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  35.  12
    Berys Gaut (1995). Rawls and the Claims of Liberal Legitimacy. Philosophical Papers 24 (1):1-22.
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  36.  15
    Garrett Cullity & Berys Gaut (1996). Conference on Ethics and Practical Reason. Journal of Value Inquiry 30 (4):573-577.
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  37.  1
    Berys Gaut & Paisley Livingston (2005). The Creation of Art. Philosophical Review 114 (1):139-141.
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  38.  9
    Raymond A. Belliotti & Berys Gaut (1992). Book Review. [REVIEW] Journal of Value Inquiry 26 (2):293-300.
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  39.  2
    Berys Gaut (1997). Book Reviews. [REVIEW] British Journal of Aesthetics 37 (1):96-97.
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  40. Garrett Cullity & Berys Gaut (eds.) (1997). Ethics and Practical Reason. Oxford University Press Uk.
    These thirteen new, specially-written essays by a distinguished international line-up of contributors give a rich, varied view of current work on the subject.
     
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  41. Berys Gaut (2009). Art, Emotion and Ethics. Oxford University Press Uk.
    Can a good work of art be evil? Art, Emotion and Ethics explores this issue, arguing that artworks are always aesthetically flawed if they have a moral defect that is aesthetically relevant. Berys Gaut shows how moral goodness is itself a kind of beauty, that artworks can teach us about morality and that this is often an aesthetic merit in them, and that our emotional responses to works of art are properly guided in part by moral considerations. Characterised by its (...)
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  42. Berys Gaut (2005). Film. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford
     
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  43. Berys Gaut (1994). On Cinema and Perversion. Film and Philosophy 1:3-17.
     
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  44. Berys Nigel Gaut (2012). Philosophy for Young Children: A Practical Guide. Routledge.
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  45. Berys Gaut (2003). Paisley Livingston, Eds. In Berys Nigel Gaut & Paisley Livingston (eds.), The Creation of Art: New Essays in Philosophical Aesthetics. Cambridge University Press
     
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  46. Berys Gaut & Paisley Livingston (eds.) (2007). The Creation of Art: New Essays in Philosophical Aesthetics. Cambridge University Press.
    Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...)
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  47. Berys Gaut & Dominic Lopes (eds.) (2013). The Routledge Companion to Aesthetics Third Edition. Routledge.
    The third edition of the acclaimed Routledge Companion to Aesthetics contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to (...)
     
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  48. Berys Gaut & Dominic Lopes (eds.) (2013). The Routledge Companion to Aesthetics. Routledge.
    The third edition of the acclaimed _Routledge Companion to Aesthetics_ contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to (...)
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  49. Berys Gaut, Dominic Lopes & Dominic McIver Lopes (eds.) (2005). The Routledge Companion to Aesthetics. Routledge.
    The second edition of the acclaimed _Routledge Companion to Aesthetics_ contains fifty-four chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Sibley and Derrida. The second part covers the central concepts and theories needed for a comprehensive understanding of aesthetics including the definitions of art, taste, value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to (...)
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  50. Berys Gaut & Dominic Lopes (eds.) (2005). The Routledge Companion to Aesthetics. Routledge.
    First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
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