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George Dickie [71]George T. Dickie [5]
  1. George Dickie (1965). Beardsley's Phantom Aesthetic Experience. Journal of Philosophy 62 (5):129-136.
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  2. George Dickie (1997). The Art Circle a Theory of Art. Monograph Collection (Matt - Pseudo).
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  3. George T. Dickie (1962). Scobie on "the Identity of a Work of Art". Mind 71 (281):98-99.
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  4.  56
    George Dickie (1974). Art and the Aesthetic: An Institutional Analysis. Cornell University Press.
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  5.  75
    George Dickie (1969). Defining Art. American Philosophical Quarterly 6 (3):253 - 256.
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  6. George Dickie (2005). The Triumph in Triumph of the Will. British Journal of Aesthetics 45 (2):151-156.
    The question at issue is whether moral defects of artworks can be aesthetic defects. Noël Carroll claims they can be, Berys Gaut claims they are, and James Anderson and Jeffrey Dean claim they are not. I side with Anderson and Dean and produce additional arguments against Carroll and Gaut. Triumph of the Will serves as an example that all five of us agree is a morally flawed artwork. I argue and conclude that its horrible moral defects are not aesthetic ones. (...)
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  7.  66
    George Dickie (1996). The Century of Taste: The Philosophical Odyssey of Taste in the Eighteenth Century. Oxford University Press.
    The Century of Taste offers an exposition and critical account of the central figures in the early development of the modern philosophy of art. Dickie traces the modern theory of taste from its first formulation by Francis Hutcheson, to blind alleys followed by Alexander Gerard and Archibald Allison, its refinement and complete expression by Hume, and finally to its decline in the hands of Kant. In a clear and straightforward style, Dickie offers sympathetic discussions of the theoretical aims of these (...)
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  8.  90
    George Dickie (1985). Evaluating Art. British Journal of Aesthetics 25 (1):3-16.
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  9.  9
    George Dickie (1987). The Art Circle. Philosophical Review 96 (1):141-146.
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  10.  95
    George Dickie & W. Kent Wilson (1995). The Intentional Fallacy: Defending Beardsley. Journal of Aesthetics and Art Criticism 53 (3):233-250.
  11.  53
    George Dickie (1997). Introduction to Aesthetics: An Analytic Approach. Oxford University Press.
    This book is an introduction to aesthetics, from the perspective of analytic philosophy. It traces aesthetics from its ancient beginnings through the changes it underwent in the eighteenth, nineteenth, and the first half of the twentieth century. The responses in the 1960s of the cultural theories to these earlier developments are discussed in detail. Five traditional art evaluational theories, Beardsley's and Goodman's evaluational theories, and the author's own evaluational theory are presented. Four miscellaneous topics are discussed - internationalist criticism, symbolism, (...)
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  12.  62
    George Dickie (2006). Intentions: Conversations and Art. British Journal of Aesthetics 46 (1):70-81.
    This paper is a continuation of a debate between Noël Carroll, who defends intentionalism, and Kent Wilson and myself, who argue that the intentions of artists are not relevant to the interpretation of works of art.
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  13.  96
    George Dickie (1998). Wollheim's Dilemma. British Journal of Aesthetics 38 (2):127-135.
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  14.  42
    George Dickie (1997). Art: Function or Procedure: Nature or Culture? Journal of Aesthetics and Art Criticism 55 (1):19-28.
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  15.  53
    George Dickie (1973). Taste and Attitude: The Origin of the Aesthetic. Theoria 39 (1-3):153-170.
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  16.  52
    George Dickie (1962). Is Psychology Relevant to Aesthetics? Philosophical Review 71 (3):285-302.
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  17.  68
    George Dickie (1984). Stolnitz's Attitude: Taste and Perception. Journal of Aesthetics and Art Criticism 43 (2):195-203.
  18.  7
    George Dickie (1973). Aesthetics: An Introduction. Journal of Philosophy 70 (10):303-307.
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  19.  35
    George Dickie (1987). Beardsley, Sibley, and Critical Principles. Journal of Aesthetics and Art Criticism 46 (2):229-237.
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  20.  62
    George Dickie (1973). Psychical Distance: In a Fog at Sea. British Journal of Aesthetics 13 (1):17-29.
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  21.  60
    George T. Dickie (1965). Clive Bell and the Method of Principia Ethica. British Journal of Aesthetics 5 (2):139-143.
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  22.  51
    George Dickie (1999). Evaluating Art: Reprise. British Journal of Aesthetics 39 (3):288-296.
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  23.  54
    George Dickie (1975). What is Anti-Art? Journal of Aesthetics and Art Criticism 33 (4):419-421.
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  24.  47
    George Dickie (2004). Reading Sibley. British Journal of Aesthetics 44 (4):408-412.
    Haydar claim that Frank Sibley offers a criterion for distinguishing aesthetically valenced from non-aesthetically valenced properties. I argue that they have misunderstood what Sibley was doing and that he never even intended to offer any such criterion. They also argue that Sibley was wrong to claim that inherently aesthetic merits are reversible. They claim that aesthetic merits—for example, elegance—are irreversible and offer some arguments for their view. I produce a counterexample to their claim about elegance and suggest that such counterexamples (...)
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  25.  43
    George Dickie (1989). Kant, Mothersill and Principles of Taste. Journal of Aesthetics and Art Criticism 47 (4):375-376.
  26.  36
    George Dickie (1968). I. A. Richards's Phantom Double. British Journal of Aesthetics 8 (1):54-59.
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  27.  4
    George Dickie (1975). Art and the Aesthetic. Journal of Philosophy 72 (22):823-825.
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  28. George Dickie (2004). Defining Art : Intension and Extension. In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell Pub.
     
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  29.  31
    George Dickie (2003). James Shelley on Critical Principles. British Journal of Aesthetics 43 (1):57-64.
    James Shelley claims that Hume's principles of taste have value-neutral subjects rather than value-laden ones that, for example, refer to aesthetic properties. I try to rebut his claim. I argue that Hume's essay on taste contains the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties in artworks, even if he does not explicitly make this point. I also deny Shelley's contention that I claim that principles are used as part of a temporal process (...)
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  30.  31
    George Dickie (1997). Reply to Noël Carroll. Journal of Aesthetics and Art Criticism 55 (3):311-312.
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  31.  30
    George Dickie (1980). The Seventh Sense: A Study of Francis Hutcheson's Aesthetics and its Influence in Eighteenth-Century Britain. Journal of the History of Philosophy 18 (1):90-92.
  32.  29
    George Dickie (1966). Attitude and Object: Aldrich on the Aesthetic. Journal of Aesthetics and Art Criticism 25 (1):89-91.
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  33.  13
    George Dickie (1968). Art Narrowly and Broadly Speaking. American Philosophical Quarterly 5 (1):71 - 77.
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  34.  23
    George Dickie (1961). Bullough and the Concept of Psychical Distance. Philosophy and Phenomenological Research 22 (2):233-238.
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  35.  16
    George Dickie (2005). The Origins of Beardsley's Aesthetics. Journal of Aesthetics and Art Criticism 63 (2):175 - 178.
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  36.  21
    George Dickie (1993). An Artistic Misunderstanding. Journal of Aesthetics and Art Criticism 51 (1):69-71.
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  37. George Dickie (1976). What is Art. In Lars Aagaard-Mogensen (ed.), Culture and Art: An Anthology. Humanities Press
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  38.  19
    George Dickie (1961). Design and Subject Matter: Fusion and Confusion. Journal of Philosophy 58 (9):233-238.
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  39.  3
    George Dickie (1980). The Opening Mind by Morris Weitz. Journal of Philosophy 77 (1):54-56.
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  40.  14
    George Dickie (2005). Richards on Evaluation. Journal of Aesthetics and Art Criticism 63 (3):283 - 285.
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  41.  15
    Robert Mathers & George Dickie (1963). The Definition of `Regional Quality'. Journal of Philosophy 60 (16):465-467.
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  42.  10
    George Dickie (1983). Instrumental Inference. Journal of Aesthetics and Art Criticism 42 (2):151-154.
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  43.  4
    George Dickie (1965). Philosophy and Scientific Realism. Philosophy and Phenomenological Research 26 (1):138.
    During the past few years, Smart has published a series of provocative articles in which he has argued for a "tough-Minded" scientific materialism. In this book, Which makes use of the articles and combines them with new material, He boldly defends the possibility of a synthetic philosophy which attempts to think clearly and comprehensively about the nature of the universe and the principles of conduct. Starting with a critique of phenomenalism, He argues that the physicist's picture of the world is (...)
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  44.  11
    George Dickie (2004). Dean, Definition, and the Romantic Artist. Journal of Aesthetics and Art Criticism 62 (4):389-391.
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  45.  9
    George Dickie (2005). Symposium: Monroe Beardsley's Legacy in Aesthetics Edited by Michael Wreen and Donald Callen. The Origin of Beardsley's Aesthetics. Journal of Aesthetics and Art Criticism 63 (2):175-178.
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  46.  11
    George Dickie (1987). Why Not the Both? Journal of Aesthetics and Art Criticism 45 (3):297.
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  47.  6
    George Dickie (1962). Book Review:Images of Man: The Classic Tradition in Sociological Thinking C. Wright Mills. [REVIEW] Philosophy of Science 29 (2):220-.
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  48.  7
    George Dickie (1979). An Earnest Reply to Professor Stalker. Philosophia 8 (4):713-718.
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  49.  1
    George Dickie (1967). A. R. White's "Attention". [REVIEW] Philosophy and Phenomenological Research 27 (3):449.
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  50.  1
    George Dickie (1974). Beardsley's Theory of Aesthetic Experience. Journal of Aesthetic Education 8 (2):13.
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