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Carl Matheson [22]Carl A. Matheson [4]
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Profile: Carl Alan Matheson (University of Manitoba)
  1. Carl Matheson & Ben Caplan (2009). Modality, Individuation, and the Ontology of Art. Canadian Journal of Philosophy 38 (4):491-517.
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  2. Ben Caplan & Carl Matheson (2008). Defending 'Defending Musical Perdurantism'. British Journal of Aesthetics 48 (1):80-85.
    British Journal of Aesthetics (forthcoming Jan. 2008).
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  3. Ben Caplan & Carl Matheson (2008). Modality, Individuation, and the Ontology of Art. Canadian Journal of Philosophy 38 (4):491-517.
    In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical work—is (...)
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  4. David Davies & Carl Matheson (eds.) (2008). Contemporary Readings in the Philosophy of Literature: An Analytic Approach. Broadview Press.
    What, if anything, distinguishes works of fiction such as Hamlet and Madame Bovary from biographies, news reports, or office bulletins? Is there a "right" way to interpret fiction? Should we link interpretation to the author's intention? Ought our moral unease with works that betray sadistic, sexist, or racist elements lower our judgments of their aesthetic worth? And what, when it comes down to it, is literature? The readings in this collection bring together some of the most important recent work in (...)
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  5. Carl Matheson, Historicist Theories of Rationality. Stanford Encyclopedia of Philosophy.
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  6. Ben Caplan & Carl Matheson (2007). Fine Individuation. British Journal of Aesthetics 47 (2):113-137.
    Levinson argues that musical works are individuated by their context of origin. But one could just as well argue that musical works are individuated by their context of reception. Moderate contextualism, according to which musical works are individuated by context of origin but not by context of reception, thus appears to be an unstable position. And, although a more thoroughgoing contextualism, according to which musical works are individuated both by context of origin and by context of reception, faces a number (...)
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  7. Carl Matheson & Ben Caplan (2007). Fine Individuation. British Journal of Aesthetics 47 (2):113-137.
    Jerrold Levinson argues that musical works are individuated by their context of origin. But one could just as well argue that musical works are individuated by their context of reception. Moderate contextualism, according to which musical works are individuated by context of origin but not by context of reception, thus appears to be an unstable position. And, although a more thoroughgoing contextualism, according to which musical works are individuated both by context of origin and by context of reception, faces a (...)
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  8. Ben Caplan & Carl Matheson (2006). Defending Musical Perdurantism. British Journal of Aesthetics 46 (1):59-69.
    If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In (...)
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  9. Ben Caplan & Carl Matheson (2004). Can a Musical Work Be Created? British Journal of Aesthetics 44 (2):113-134.
    Can a musical work be created? Some say ‘no’. But, we argue, there is no handbook of universally accepted metaphysical truths that they can use to justify their answer. Others say ‘yes’. They have to find abstract objects that can plausibly be identified with musical works, show that abstract objects of this sort can be created, and show that such abstract objects can persist. But, we argue, none of the standard views about what a musical work is allows musical works (...)
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  10. Carl Matheson & Evan Kirchhoff (2003). Critical Notice. Canadian Journal of Philosophy 33 (4):575-598.
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  11. Carl Matheson & Evan Kirchhoff (2003). Critical Notice: James O. Young, Art and Knowledge. London: Routledge 2001. Pp. 180. Canadian Journal of Philosophy 33 (4):575-598.
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  12. Carl Matheson & Evan Kirchhoff (2003). Critical Notice of James O. Young, Art and Knowledge. Canadian Journal of Philosophy 33 (4):575-598.
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  13. James O. Young & Carl Matheson (2000). The Metaphysics of Jazz. Journal of Aesthetics and Art Criticism 58 (2):125-133.
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  14. Carl Matheson (1998). Why the No-Miracles Argument Fails. International Studies in the Philosophy of Science 12 (3):263 – 279.
    The chief argument for scientific realism is the no-miracles argument, according to which the approximate truth of our current scientific theories can be inferred from their success through time. To date, anti-realist responses to the argument have been unconvincing, largely because of their anti-realistic presuppositions. In this paper, it is shown that realists cannot pre-emptively dismiss the problem of the underdetermination of theory by evidence, and that the no-miracles argument fails because it does nothing to dispel the threat posed by (...)
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  15. Evan Kirchhoff & Carl Matheson (1997). Chaos and Literature. Philosophy and Literature 21 (1):28-45.
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  16. Carl Matheson & Evan Kirchhoff (1997). Chaos and Literature. Philosophy and Literature 21 (1):28-45.
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  17. Carl Matheson (1996). The Advancement of Science. Canadian Journal of Philosophy 26 (3):463-489.
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  18. Carl Matheson (1993). The Rational and the Social. Canadian Journal of Philosophy 23 (1):125-149.
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  19. Carl Matheson (1992). Brown's Rationality. Social Epistemology 6 (1):35 – 43.
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  20. Carl Matheson & Winnipeg Manitoba Rut (1992). Carl Matheson. Social Epistemology 6 (1):35-43.
     
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  21. Sonia Ryang, Warren Schmaus, Steven I. Miller, Carl Matheson, Harold Brown, Govindan Parayil, Steven Yearley & Stephen Turner (1992). Taylor Ic Francis. London and Washington. Dc 0269-172bc1992) 6: 1-#. Social Epistemology 6:102.
     
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  22. Carl A. Matheson & A. David Kline (1991). Rejection Without Acceptance. Australasian Journal of Philosophy 69 (2):167 – 179.
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  23. Carl A. Matheson (1990). Consciousness and Synchronic Identity. Dialogue 523 (04):523-530.
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  24. Carl Matheson (1989). Is the Naturalist Really Naturally a Realist? Mind 98 (390):247-258.
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  25. A. David Kline & Carl A. Matheson (1987). The Logical Impossibility of Collision. Philosophy 62 (242):509 - 515.
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  26. A. David Kline & Carl A. Matheson (1986). How the Laws of Physics Don't Even Fib. Psa 1986:33--41.
    The most recent challenge to the covering-law model of explanation (N. Cartwright, How the laws of Physics Lie) charges that the fundamental explanatory laws are not true. In fact explanation and truth are alleged to pull in different directions. We hold that this gets its force from confusing issues about the truth of the laws in the explanation and the precision with which those laws can yield an exact description of the event to be explained. In defending this we look (...)
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