Search results for 'Christy Sandborg' (try it on Scholar)

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  1. Julie Collier, Mary Rorty & Christy Sandborg (2006). Rafting the Ethical Rapids. HEC Forum 18 (4):332-341.score: 240.0
  2. Julie Collier & Christy Sandborg (2005). The First Step: DNAR Outside the Hospital and the Role of Pediatric Medical Care Providers. American Journal of Bioethics 5 (1):85-86.score: 240.0
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  3. David Sandborg (1998). Mathematical Explanation and the Theory of Why-Questions. British Journal for the Philosophy of Science 49 (4):603-624.score: 30.0
    Van Fraassen and others have urged that judgements of explanations are relative to why-questions; explanations should be considered good in so far as they effectively answer why-questions. In this paper, I evaluate van Fraassen's theory with respect to mathematical explanation. I show that his theory cannot recognize any proofs as explanatory. I also present an example that contradicts the main thesis of the why-question approach—an explanation that appears explanatory despite its inability to answer the why-question that motivated it. This example (...)
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  4. T. Craig Christy (forthcoming). Humboldt's 'Inner Language Form' and Stejnthal's Theory of Signification. Semiotics:251-259.score: 30.0
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  5. Arthur E. Christy (1928). Emerson's Debt to the Orient. The Monist 38 (1):38-64.score: 30.0
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  6. T. Craig Christy (forthcoming). "Reconstructing Language. Semiotics:627-632.score: 30.0
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  7. T. Craig Christy (forthcoming). The Role of Abbreviation in Figurative Processes of Language Change. Semiotics:219-226.score: 30.0
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  8. John H. Christy (1985). Crustacean Behavior. Bioscience 35 (1):55-55.score: 30.0
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  9. John H. Christy (1985). Crustacean Behavior Studies in Adaptation: The Behavior of Higher Crustacea Steve Rebach D. W. Dunham. Bioscience 35 (1):55-55.score: 30.0
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  10. E. Jennifer Christy (1977). Congress Hooks Snail Darter. Bioscience 27 (5):320-320.score: 30.0
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  11. Daniel Christy & Larry Reid (1975). Methods of Deconditioning Persisting Avoidance: Amphetamine and Amobarbital as Adjuncts to Response Prevention. Bulletin of the Psychonomic Society 5 (2):175-177.score: 30.0
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  12. Arthur Christy (1960/1963). The Orient in American Transcendentalism. New York, Octagon Books.score: 30.0
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  13. T. Craig Christy (forthcoming). The Semantics of Reduplication. Semiotics:619-626.score: 30.0
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  14. Terence Cuneo & Sean Christy (2011). The Myth of Moral Fictionalism. In Michael Brady (ed.), New Waves in Metaethics. Palgrave Macmillan.score: 30.0
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  15. Sherri C. Widen, Anita M. Christy, Kristen Hewett & James A. Russell (2011). Do Proposed Facial Expressions of Contempt, Shame, Embarrassment, and Compassion Communicate the Predicted Emotion? Cognition and Emotion 25 (5):898-906.score: 30.0
  16. Frances Smith (2012). Phyllis Frus and Christy Williams, Eds. (2010) Beyond Adaptation: Essays on Radical Transformations of Original Works. Film-Philosophy 16 (1):281-286.score: 15.0
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  17. James O. Young (2014). Mag Uidhir, Christy, Ed. Art and Abstract Objects. Oxford University Press, Viii + 310 Pp., $75.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 72 (2):218-220.score: 9.0
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  18. Sarah Elton (2002). The Anthropology of Modern Human Teeth. Dental Morphology and its Variation in Recent Human Populations. Cambridge Studies in Biological and Evolutionary Anthropology. By G. Richard Scott & Christy G. Turner II. Pp. 382. (Cambridge University Press, Cambridge, 2000.) £19.95, ISBN 0-521-78453-0, Paperback. [REVIEW] Journal of Biosocial Science 34 (3):431-432.score: 9.0
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  19. S. Elton (2002). The Anthropology of Modern Human Teeth. Dental Morphology and its Variation in Recent Human Populations (by G. Richard Scott & Christy G. Turner II). [REVIEW] Journal of Biosocial Science 34 (3):431-432.score: 9.0
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  20. J. Schor (1994). Century of Service: Land-Grant Colleges and Universities, 1980-1990, Edited by Ralph D. Christy and Lionel Williamson. Agriculture and Human Values 11:58-58.score: 9.0
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  21. Christy Mag Uidhir (ed.) (2013). Art & Abstract Objects. Oxford University Press.score: 6.0
    TABLE OF CONTENTS Introduction: Art, Metaphysics, & The Paradox of Standards (Christy Mag Uidhir) GENERAL ONTOLOGICAL ISSUES 1. Must Ontological Pragmatism be Self-Defeating? (Guy Rohrbaugh) 2. Indication, Abstraction, & Individuation (Jerrold Levinson) 3. Destroying Artworks (Marcus Rossberg) INFORMATIVE COMPARISONS 4. Artworks & Indefinite Extensibility (Roy T. Cook) 5. Historical Individuals Like Anas platyrhynchos & ‘Classical Gas’ (P.D. Magnus) 6. Repeatable Artworks & Genericity (Shieva Kleinschmidt & Jacob Ross) ARGUMENTS AGAINST & ALTERNATIVES TO 7. Against Repeatable Artworks (Allan Hazlett) 8. (...)
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  22. Christy Mag Uidhir (2013). Art & Art-Attempts. Oxford University Press.score: 6.0
    Although few philosophers agree about what it is for something to be art, most, if not all, agree that art must be in some sense intention dependent. -/- Christy Mag Uidhir argues that artworks are the products of the attempts (goal-oriented intention-directed activities) in which we engage, and these attempts not only succeed or fail but have products that reflect that success or failure. It is not just that an artwork must be the product of intentional action but rather (...)
     
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  23. Daniel Whistler (2010). Kant's Imitatio Christi. International Journal for Philosophy of Religion 67 (1):17 - 36.score: 4.0
    This article retrieves Kant's imitatio Christi as a viable alternative to the recent construal of mimesis as a universal human desire, in particular to Ward's reformulation of the imitatio Christi in such terms (in which the human condition is defined by an intrinsic desire for God as other). Kant's writings participate in a very different debate on imitation (one sceptical of its ethical value), and this plays out as a continual ambivalence towards the concept in his work. Kant's imitatio Christi, (...)
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  24. Rein Vihalemm (2005). Chemistry and a Theoretical Model of Science: On the Occasion of a Recent Debate with the Christies. [REVIEW] Foundations of Chemistry 7 (2):171-182.score: 4.0
    In the philosophy of chemistry a view is developed according to which laws of nature and scientific theories are peculiar in chemistry. This view was criticized in an earlier issue of the Foundations of Chemistry (Vihalemm, Foundation of Chemistry 5(1): 7–22, 2003) referring to an essay by Maureen and John Christie (Christie and Christie, in N. Bushan and S. Rosenfeld (Eds.), Of Minds and Molecules: New Philosophical Perspectives on Chemistry. Oxford University Press, New York, 2000, pp. 34–50). This criticism was (...)
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  25. Christie Davis (forthcoming). Final Reflection-MA Teacher Leadership Christie Davis May 30, 2012 1. Philosophy.score: 4.0
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  26. Stephen M. Clinton (1997). Philosophia Christi, 20: 2, 1997 Philosophical Values and Contemporary Theories of Education: II. Philosophia Christi 20 (2).score: 4.0
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  27. Christy Mag Uidhir (2009). Why Pornography Can't Be Art. Philosophy and Literature 33 (1):pp. 193-203.score: 3.0
    Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...)
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  28. Christy Mag Uidhir (2013). The Epistemic Misuse & Abuse of Pictorial Caricature. American Philosophical Quarterly 50 (2):137-152.score: 3.0
    I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...)
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  29. Christy Mag Uidhir & Henry Pratt (2013). Pornography at the Edge: Depiction, Fiction, & Sexual Predilection. In Hans Maes & Jerrold Levinson (eds.), Art & Pornography: Philosophical Essays. Oxford University Press.score: 3.0
    The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...)
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  30. Christy Mag Uidhir (2010). Failed-Art and Failed Art-Theory. Australasian Journal of Philosophy 88 (3):381-400.score: 3.0
    An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...)
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  31. Allan Hazlett & Christy Mag Uidhir (2011). Unrealistic Fictions. American Philosophical Quarterly 48 (1):33--46.score: 3.0
    In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...)
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  32. Christy Mag Uidhir & P. D. Magnus (2011). Art Concept Pluralism. Metaphilosophy 42 (1-2):83-97.score: 3.0
    Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...)
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  33. Christy Mag Uidhir (2013). What's So Bad About Blackface? In Dan Flory & Mary Bloodsworth-Lugo (eds.), Race, Philosophy, and Film. Routledge.score: 3.0
    I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...)
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  34. Christy Mag Uidhir & Cameron Buckner (forthcoming). A Portrait of the Artist as an Aesthetic Expert. In Gregory Currie, Matthew Kieran & Aaron Meskin (eds.), Aesthetics and the Sciences. Oxford University Press.score: 3.0
    For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...)
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  35. Christy Mag Uidhir (2012). Comics & Collective Authorship. In Aaron Meskin & Roy T. Cook (eds.), Art of Comics: A Philosophical Approach. Wiley-Blackwell.score: 3.0
    Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...)
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  36. Christy Mag Uidhir (2013). How to Frame Serial Art. Journal of Aesthetics and Art Criticism 71 (3):261-265.score: 3.0
    Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...)
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  37. Christy Mag Uidhir (2013). Art, Metaphysics, & the Paradox of Standards. In , Art & Abstract Objects. Oxford University Press.score: 3.0
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...)
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  38. Christy Mag Uidhir (2012). Photographic Art: An Ontology Fit to Print. Journal of Aesthetics and Art Criticism 70 (1):31-42.score: 3.0
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...)
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  39. Christy Mag Uidhir (2011). An Eliminativist Theory of Suspense. Philosophy and Literature 35 (1):121-133.score: 3.0
    Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...)
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  40. Christy Mag Uidhir (2007). Recordings as Performances. British Journal of Aesthetics 47 (3):298-314.score: 3.0
    This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.
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  41. Christy Mag Uidhir (2011). The Paradox of Suspense Realism. Journal of Aesthetics and Art Criticism 69 (2):161-171.score: 3.0
    Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...)
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  42. Christy Mag Uidhir (2011). Minimal Authorship (of Sorts). Philosophical Studies 154 (3):373-387.score: 3.0
    I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distinctions between collective production and collective authorship.
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  43. Daniel N. Robinson (2008). Consciousness and Mental Life. Columbia University Press.score: 3.0
    Reviewed in: The Journal of the History of the Neural Sciences, 2011 (vol. 20, no. 2) Consciousness and Mental Life by Daniel N. Robinson This book is a refreshingly philosophical treatise on a topic that frequently falls victim to the predatory nature of the scientist's red herring. Not to detract from the merit of this pervasive red herring, but many volumes ostensibly about consciousness end up being little more than books on “mental life.” Expounding on the anatomical and cognitive fascinations (...)
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  44. Christy Mag Uidhir (2009). Unlimited Additions to Limited Editions. Contemporary Aesthetics 7.score: 3.0
    In this paper I target the relationship between two prints that are roughly qualitatively identical and share a causal history. Is one an artwork if and only if the other is an artwork? To answer this, I propose two competing principles. The first claims that certain intentional relations must be shared by the prints (e.g., editioned prints vs. non-editioned prints). The second, which I endorse, appeals only to minimal print ontology, claiming that the two prints need only be what I (...)
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  45. Aaron Meskin & Roy T. Cook (eds.) (2012). The Art of Comics: A Philosophical Approach. Wiley-Blackwell.score: 3.0
    Machine generated contents note: Foreword (Warren Ellis).Introduction (Roy T. Cook and Aaron Meskin).PART I: The Nature and Kinds of Comics.1. Redefining Comics (John Holbo).2. The Ontology of Comics (Aaron Meskin).3. Comics and Collective Authorship (Christy Mag Uidhir).4. Comics and Genre (Catharine Abell).PART 2: Comics and Representation.5. Wordy Pictures: Theorizing the Relationship between Image and Text in Comics (Thomas E. Wartenberg).6. What's So Funny? Comic Content in Depiction (Patrick Maynard).7. The Language of Comics (Darren Hudson Hick).PART 3: Comics and the (...)
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  46. Christy Simpson (2004). When Hope Makes Us Vulnerable: A Discussion of Patient–Healthcare Provider Interactions in the Context of Hope. Bioethics 18 (5):428–447.score: 3.0
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