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Derek Matravers [82]D. Matravers [8]
  1. Derek Matravers, Art and the Negative Emotions.
    This paper argues that the role of the negative emotions in the appreciation of art is misunderstood. Usually taken to generate the 'paradox of tragedy', in fact the negative emotions play an essential role in creativity, and hence in art appreciation.
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  2.  23
    Derek Matravers (2014). Fiction and Narrative. OUP Oxford.
    Do fictions depend upon imagination? Derek Matravers argues against the mainstream view that they do, and offers an original account of what it is to read, listen to, or watch a narrative. He downgrades the divide between fiction and non-fiction, largely dispenses with the imagination, and in doing so illuminates a succession of related issues.
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  3. Derek Matravers (2014). Introducing Philosophy of Art: In Eight Case Studies. Routledge.
    Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms a basis for a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is the artistic (...)
     
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  4.  17
    Derek Matravers, Art, Knowledge, and Virtue: Comments on Alana Jelinek's This is Not Art.
    This article is a commentary on Alana Jelinek's book, This Is Not Art. It broadly agrees with Jelinek in her diagnosis of the current ills of the artworld, who is to blame for this, and the need for an endogenous value of art. Furthermore, it agrees with her that the value of art lies in its status as a ‘knowledge-forming discipline’. However, it takes issue with the very notion of an ‘avant-garde’ art, with Jelinek's claims concerning truth, and raises questions (...)
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  5. Derek Matravers (1998). Art and Emotion. Oxford University Press.
    Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts (...)
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  6.  42
    Derek Matravers (2001). Art, Expression and Emotion. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge
    The primary use of such terms as "sadness" and "joy" is to refer to the mental states of people. In such cases, the claim that someone is sad is equivalent to the claim that they feel sad. However, our use of emotion terms is broader than this; a funeral is a sad occasion, a wedding is a happy event. In such cases, a justification can be given for the use of the word. For example, it is part of what is (...)
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  7. Derek Matravers (2003). Fictional Assent and the (so-Called) `Puzzle of Imaginative Resistance'. In Matthew Kieran & Dominic McIver Lopes (eds.), Imagination, Philosophy, and the Arts. Routledge 91-106.
    This article criticises existing solutions to the 'puzzle of imaginative resistance', reconstrues it, and offers a solution of its own. About the Book : Imagination, Philosophy and the Arts is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of (...)
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  8.  17
    Derek Matravers (1993). Book Reviews. [REVIEW] British Journal of Aesthetics 33 (3):286-288.
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  9.  16
    Derek Matravers (2011). Empathy as a Route to Knowledge. In Amy Coplan & Peter Goldie (eds.), Empathy. Philosophical and Psychological Perspectives. Oxford University Pres 19.
    Is it epistemologically better to feel an emotion that someone is having, rather than just believing he or she is having the emotion? This is the question that Derek Matravers is raising.
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  10.  53
    Derek Matravers (2003). The Experience of Emotion in Music. Journal of Aesthetics and Art Criticism 61 (4):353–363.
  11.  33
    Derek Matravers (1997). Book-Reviews. British Journal of Aesthetics 37 (3):286-288.
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  12.  29
    Derek Matravers (1994). Book Reviews. [REVIEW] British Journal of Aesthetics 34 (4):286-288.
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  13.  83
    Derek Matravers (1996). Aesthetic Concepts and Aesthetic Experiences. British Journal of Aesthetics 36 (3):265-279.
    In this paper I want to return to some well-worn ideas; specifically, the attempt to show that there is a distinctive subject-matter of the aesthetic via consideration of the difference between aesthetic and non-aesthetic concepts. The classic exposition of this distinction is Frank Sibley's 'Aesthetic Concepts'. Sibley claimed that, given a set of relevant terms, there will be widespread non-collusive agreement as to which are aesthetic and which non-aesthetic. Non-aesthetic terms include _'red, noisy, brackish, clammy, square, docile, curved, evanescent, intelligent, (...)
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  14.  90
    Derek Matravers (2010). Why We Should Give Up on the Imagination. Midwest Studies in Philosophy 34 (1):190-199.
    This paper criticises the current orthodoxy that people who engage with fiction fils are exercising their imagination.
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  15.  8
    Derek Matravers, Wollheim.
    Richard Wollheim was born in 1923 in London. His father was Eric Wollheim who was at the time the London manager for Diaghilev. His mother had been a Gaiety girl; she left the stage when she married. Wollheim was educated at Westminster School and then, after active service in the Second World War, he went to Oxford to complete degrees in history and PPE. Despite relatively little study of the subject he was recruited by A. J. Ayer for the Philosophy (...)
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  16.  19
    D. Matravers (2014). The Opacity of Narrative. Philosophical Quarterly 64 (257):667-669.
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  17. Derek Matravers (2003). The Aesthetic Experience. British Journal of Aesthetics 43 (2):158-174.
    This paper joins recent attempts to defend a notion of aesthetic experience. It argues that phenomenological facts and facts about aesthetic value support the Kantian notion that aesthetic experience lies between, but differs from, pleasures of the agreeable and pleasures stemming from cognitions. It then shows that accounts by Beardsley, Levinson, and Savile fail to resolve clear tensions that surface in attempting to characterize such an experience. An account of aesthetic experience—as involving experienced cognitions that are the bearers of value—is (...)
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  18.  38
    Derek Matravers (1995). Beliefs and Fictional Narrators. Analysis 55 (2):121 - 122.
    In his book _The Nature of Fiction_ Greg Currie makes the following proposal concerning the contents of works of fiction: 'Fs' is an abbreviation of 'P is true in fiction S', where P is some proposition and S is some work of fiction. 'Fs' is true iff it is reasonable for the informed reader to infer that the fictional author of S believes that P. In reading a fiction we engage in a make-believe, and the fictional author is that fictional (...)
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  19.  45
    Derek Matravers (2007). Musical Expressiveness. Philosophy Compass 2 (3):373–379.
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  20.  71
    Derek Matravers (1991). Art and the Feelings and Emotions. British Journal of Aesthetics 31 (4):322-331.
    Many of the judgements we make of particular works of art employ the vocabulary of feelings or emotions. Typically, the critic uses terms such as 'sad', 'joyful', 'optimistic', 'gloomy', 'angry', 'lusty', 'exuberant' and so forth to describe aspects of works of art. Such descriptions generate one of the most intractable problems in aesthetics: that of specifying the relation between art and the feelings and emotions thus ascribed to them.
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  21.  7
    Derek Matravers (2014). Debunking the Imagination. The Philosophers' Magazine 66:38-43.
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  22.  2
    Derek Matravers (2002). Aesthetic Concepts: Essays After Sibley. Mind 111 (444):912-916.
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  23.  57
    Derek Matravers & Jerrold Levinson, Aesthetic Properties 1 - Derek Matravers.
    Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in a position (...)
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  24.  24
    Derek Matravers & Jerrold Levinson (2005). Derek Matravers. Aristotelian Society Supplementary Volume 79 (1):191–210.
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  25.  22
    Derek Matravers (2005). Two Comments and a Problem for David Davies' Performance Theory. Acta Analytica 20 (4):32-40.
    This paper considers the view, recently put forward by David Davies in Art and Performance , that works of art should be identified with the generative performances that result in the object, rather than with the object. It attempts to disarm two of Davies arguments by, first, providing a criterion by which the contextualist can accommodate all and only the relevant generative properties as properties of the work, and, second, providing an alternative explanation for his modal intuitions. Finally, it draws (...)
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  26.  59
    Derek Matravers (2002). Review: Merit, Aesthetic and Ethical. [REVIEW] Mind 111 (442):396-399.
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  27.  56
    Derek Matravers (1994). Once More with Feeling: A Reply to Ridley. British Journal of Aesthetics 34 (2):174-177.
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  28.  53
    Derek Matravers (2002). The Metaphysics of Beauty. British Journal of Aesthetics 42 (4):434-436.
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  29. Derek Matravers (2001). And Emotion. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge 353.
     
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  30.  38
    Derek Matravers (2007). Expression in Music. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press
    This is a critical review of the current state of the debate in the philosophy of music, and defends the author's view as the phenomenology of the experience.
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  31.  48
    Derek Matravers (1997). Truth in Fiction: A Reply to New. Journal of Aesthetics and Art Criticism 55 (4):423-425.
    This paper is a response to that of Christopher New. It argues that New has no alternative to an earlier solution I proposed to the problem of specifying the content of a fiction fails, as his solution is in terms of facts external to the game of make-believe being played, while mine was internal. It argues that understanding fiction is only a special case of understanding representation, which can be given a Gricean analysis. It proposes that the inferences crucial to (...)
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  32.  37
    D. Matravers (2000). The Institutional Theory: A Protean Creature. British Journal of Aesthetics 40 (2):242-250.
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  33.  42
    Derek Matravers (2002). Review: Aesthetic Concepts: Essays After Sibley. [REVIEW] Mind 111 (444):912-916.
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  34.  31
    Derek Matravers (2007). The Dematerialization of the Object. In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press
    This paper draws on Philosophy and Art History to consider the relation of Conceptual Art to Modernism. It is sceptical of the justification that Conceptual Art arose out of some necessary poverty of the Modernist project.
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  35.  1
    Derek Matravers (2009). Expression in the Arts. In Peter Goldie (ed.), The Oxford Handbook of Philosophy of Emotion. OUP Oxford
    This is an overview of, and criticism of, theories on the role of the emotions in accounting for expression in the arts - both music and painting.
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  36.  10
    Derek Matravers (2002). Review: Approach to Aesthetics: Collected Papers on Philosophical Aesthetics. [REVIEW] Mind 111 (444):912-916.
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  37.  17
    Derek Matravers (1991). Who's Afraid of Virginia Woolf? Ratio 4 (1):25-37.
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  38. Derek Matravers & Jerrold Levinson (2005). Aesthetic Properties. Aristotelian Society Supplementary Volume 79:191-227.
    Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in a position (...)
     
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  39.  31
    Derek Matravers (2010). Aesthetic Essays – Malcolm Budd. Philosophical Quarterly 60 (240):666-668.
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  40.  10
    Lydia Fialova, Guido Pincione, Derek Matravers, Beatrix Himmelmann, Dorothea Frede, Michael Martin, Veronique Munoz-Darde, Vincent Descombes, Hans Joas & Sebastian Rödl (2009). Visiting Professors From Abroad. Review of Metaphysics 63:289-296.
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  41.  34
    Derek Matravers (2008). True to Our Feelings: What Our Emotions Are Really Telling Us – Robert C. Solomon. Philosophical Quarterly 58 (233):751-753.
  42.  1
    D. Matravers (2014). Emotion and Imagination. Philosophical Quarterly 64 (256):529-531.
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  43.  7
    Derek Matravers (2011). Imagination, Fiction, and Documentary. In Noel Carroll & John Gibson (eds.), Narrative, Emotion, and Insight. Penn State University 173.
    In this paper I argue against the current consensus that there is such a thing as 'the philosophy of fiction'. I argue instead that what are taken to be problems with fiction, are in fact problems with narrative more generally.
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  44.  19
    Derek Matravers, The Challenge of Irrationalism and How Not to Meet It.
    About the book: Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, (...)
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  45.  21
    Derek Matravers (2009). Review of Kathleen Stock, Katherine Thomson-Jones (Eds.), New Waves in Aesthetics. [REVIEW] Notre Dame Philosophical Reviews 2009 (12).
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  46.  23
    Derek Matravers & Jerrold Levinson (2005). Jerrold Levinson. Aristotelian Society Supplementary Volume 79 (1):211–227.
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  47.  6
    Roger Crisp, Derek Matravers, Lilli Alanen, Michael Martin, Veronique Munoz-Darde, Johannes Brandl, Bernard Rohrmoser, Françoise Dastur, Felix Ó Murchadha & Georg Sans (2010). Visiting Professors From Abroad. Review of Metaphysics 64:231-238.
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  48.  3
    Derek Matravers (2011). 1. Wollheim's Account. In Elisabeth Schellekens & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology. Oxford University Press 427.
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  49.  21
    Derek Matravers (2007). Institutional Definitions and Reasons. British Journal of Aesthetics 47 (3):251-257.
    The paper examines certain aspects of institutionalist definitions of art, in particular whether they are committed to ‘indexing’, whereby calling something art makes it art. It is argued that there is no such commitment and that institutionalist definitions need not abandon the idea that works of art become art for specific, and substantial, reasons. The question is how reasons can be accommodated. A proposal from defenders of ‘cluster theories’ is considered and rejected. Another proposal is advanced according to which the (...)
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  50.  19
    Derek Matravers (2009). Aesthetic Creation – Nick Zangwill. Philosophical Quarterly 59 (236):573-574.
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