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  1. Catharine Abell (2013). Expression in the Representational Arts. American Philosophical Quarterly 50 (1):23-36.
    Understanding a work of representational art involves more than simply grasping what it represents. We can distinguish at least three types of content that representational works may possess. First, all representational works have explicit representational content. This includes the literal content of a linguistic work and the depictive content of a pictorial work. Second, they often have a conveyed content, which outstrips their explicit representational content, including much that is merely implicit in the work, and may exclude certain aspects of (...)
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  2. Catharine Abell (2012). Comics and Genre. In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Blackwell. 68--84.
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  3. Catharine Abell (2012). Art: What It Is and Why It Matters. Philosophy and Phenomenological Research 85 (3):671-691.
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  4. Catharine Abell (2011). Gregory Currie , Narratives and Narrators: A Philosophy of Stories . Reviewed By. Philosophy in Review 31 (5):324-326.
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  5. Catharine Abell (2010). Cinema as a Representational Art. British Journal of Aesthetics 50 (3):273-286.
    In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?
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  6. Catharine Abell (2010). Of Photographs. In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. 81.
     
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  7. Catharine Abell (2010). The Epistemic Value of Photographs. In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
     
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  8. Catharine Abell & Katerina Bantinaki (eds.) (2010). Philosophical Perspectives on Picturing. Oxford University Press.
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  9. Catharine Abell (2009). Canny Resemblance. Philosophical Review 118 (2):183-223.
    Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...)
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  10. Catharine Abell (2007). Pictorial Realism. Australasian Journal of Philosophy 85 (1):1 – 17.
    I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to (...)
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  11. Catharine Abell (2006). Realism and the Riddle of Style. Contemporary Aesthetics 4:36.
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  12. Catharine Abell (2005). Against Depictive Conventionalism. American Philosophical Quarterly 42 (3):185 - 197.
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  13. Catharine Abell (2005). On Outlining the Shape of Depiction. Ratio 18 (1):27–38.
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  14. Catharine Abell (2005). Pictorial Implicature. Journal of Aesthetics and Art Criticism 63 (1):55–66.
  15. Catharine Abell (2005). The Public Cost of Private Ownership of Artworks. Philosophy in the Contemporary World 12 (2):76-81.
    I argue that artworks are of public value because aesthetic experience of them contributes to the development of our aestheticjudgement. I use two accounts of aesthetic judgement to explore how it might do so and how the private ownership of artworks could affect the development of our aesthetic judgement.
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  16. Catharine Abell & Gregory Currie (1999). Internal and External Pictures. Philosophical Psychology 12 (4):429-445.
    What do pictures and mental images have in common? The contemporary tendency to reject mental picture theories of imagery suggests that the answer is: not much. We show that pictures and visual imagery have something important in common. They both contribute to mental simulations: pictures as inputs and mental images as outputs. But we reject the idea that mental images involve mental pictures, and we use simulation theory to strengthen the anti-pictorialist's case. Along the way we try to account for (...)
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