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  1. Gregory Currie, Art and the Anthropologists.
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  2. Gregory Currie, Characters and Contingency.
    One way creatures of fiction seem to differ from real things is in their essential properties. While you and I might not have done many of the things we did do, Anna Karenina could not, surely, have been other than a lover of Vronsky. Is that right? Not straightforwardly: while it is true that “Necessarily, someone who was not a lover of Vronsky would not be Anna”, it is also true that “Someone who was necessarily a lover of Vronsky would (...)
     
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  3. Gregory Currie (2013). On the Enjoyment of Tragedy. Rivista di Estetica 53 (2):7-24.
     
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  4. Gregory Currie (2013). Sul Godimento Della Tragedia. Rivista di Estetica 53 (53):7-24.
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  5. Gregory Currie (2013). To Do aestheticsI. In Matthew C. Haug (ed.), Philosophical Methodology: The Armchair or the Laboratory? Routledge. 435.
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  6. Gregory Currie (2012). Nota sobre arte e conceitos históricos. Critica.
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  7. Gregory Currie (2012). Literature and Truthfulness. In James Maclaurin (ed.), Rationis Defensor. 23-31.
    How should we characterise the view that we can learn about the mind from literature? Should we say that such learning consists in acquiring knowledge of truths? That option is more attractive than it is sometimes made to seem by those who oppose propositional knowledge to practical knowledge or “knowing how”. But some writers on this topic—Lamarque and Olsen—argue that, while literature may express interesting propositions, it is not their truth that matters, but their “content”. Matters to what? To literary (...)
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  8. Gregory Currie, Petr Kotatko & Martin Pokorny (eds.) (2012). Mimesis: Metaphysics, Cognition, Pragmatics. College Publications.
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  9. Gregory Currie (2011). As obras de arte como tipos de acções. Critica.
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  10. Gregory Currie (2011). Empathy for Objects1. In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press. 82.
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  11. Gregory Currie (2011). The Master of the Masek Beds: Handaxes, Art, and the Minds of Early Humans1. In Elisabeth Schellekens & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology. Oxford University Press. 9.
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  12. Gregory Currie (2011). Telling Stories. The Philosophers' Magazine 54 (54):44-49.
    As Dr Johnson said, argument is like a crossbow: it owes its force to the mechanisms of the bow, as argument owes its force to its intrinsic rational power. But testimony is like the longbow: we cannot tell what it will do unless we know the strength of the user.
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  13. Gregory Currie (2010). Bergman and the Film Image. Midwest Studies in Philosophy 34 (1):323-339.
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  14. Gregory Currie (2010). Narratives and Narrators: A Philosophy of Stories. Oxford University Press.
    This text offers a reflection on the nature and significance of narrative in human communication.
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  15. Gregory Currie (2010). Narrative, Imitation, and Point of View. In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell.
     
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  16. Gregory Currie (2010). Q & A. The Philosophers' Magazine 49 (49):114-115.
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  17. Gregory Currie (2010). Actual Art, Possible Art, and Art's Definition. Journal of Aesthetics and Art Criticism 68 (3):235-241.
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  18. Gregory Currie (2009). Narrative and the Psychology of Character. Journal of Aesthetics and Art Criticism 67 (1):61-71.
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  19. Gregory Currie (2009). The Ontology of Conceptual Art. In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oup Oxford.
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  20. Gregory Currie (2008). Écho et feintise : quelle est la différence et qui a raison ? Philosophiques 35 (1):13.
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  21. Gregory Currie (2008). Some Ways to Understand People. Philosophical Explorations 11 (3):211 – 218.
    Shaun Gallagher and Dan Hutto claim that those once bitter rivals, simulation theory and theory-theory, are now to be treated as partners in crime. It's true that the debate has become more nuanced, with detailed suggestions abroad as to how these two approaches might peaceably divide the field. And there is common ground between them, at least to the extent that they agree on what needs to be explained. But I see no fatal flaw in what they share. In particular, (...)
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  22. Gregory Currie (2007). Both Sides of the Story: Explaining Events in a Narrative. [REVIEW] Philosophical Studies 135 (1):49 - 63.
    Our experience of narrative has an internal and an external aspect--the content of the narrative’s representations, and its intentional, communicative aetiology. The interaction of these two things is crucial to understanding how narrative works. I begin by laying out what I think we can reasonably expect from a narrative by way of causal information, and how causality interacts with other attributes we think of as central to narrative. At a certain point this discussion will strike a problem: our judgements about (...)
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  23. Gregory Currie (2007). Framing Narratives. Royal Institute of Philosophy Supplement 82 (60):17-.
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  24. Gregory Currie (2007). Visual Conceptual Art. In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press. 33.
     
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  25. Gregory Currie (2006). Narrative Representation of Causes. Journal of Aesthetics and Art Criticism 64 (3):309–316.
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  26. Gregory Currie (2006). Rationality, Decentring, and the Evidence for Pretence in Nonhuman Animals. In Susan L. Hurley & Matthew Nudds (eds.), Rational Animals? Oxford University Press.
     
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  27. Gregory Currie (2006). Why Irony is Pretence. In Shaun Nichols (ed.), The Architecture of the Imagination: New Essays on Pretence, Possibility, and Fiction. Clarendon Press.
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  28. Gregory Currie & Nicholas Jones (2006). McGinn on Delusion and Imagination. Philosophical Books 47 (4):306-313.
  29. Gregory Currie, Ian Ravenscroft & Christoph Hoerl (2005). Récréative Minds: Imagination in Philosophy and Psychology. Mind and Language 20 (5):559-564.
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  30. Gregory Currie (2004). Arts and Minds. Oxford University Press.
    Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves (...)
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  31. Gregory Currie (2004). Genre. Oxford University Press.
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  32. Gregory Currie (2004). Introduction. Mind and Language 19 (4):359–359.
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  33. Gregory Currie (2004). The Representational Revolution. Journal of Aesthetics and Art Criticism 62 (2):119–128.
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  34. Gregory Currie & Jon Jureidini (2004). Narrative and Coherence. Mind and Language 19 (4):409–427.
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  35. Gregory Currie (2003). Aesthetics and Cognitive Science. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. 706--721.
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  36. Gregory Currie (2003). Interpretation in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. 291--306.
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  37. Gregory Currie (2003). The Capacities That Enable Us to Produce and Consume Art. In Matthew Kieran & Dominic Lopes (eds.), Imagination, Philosophy, and the Arts. Routledge. 293--304.
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  38. Gregory Currie (2002). Desire in Imagination. In Tamar S. Gendler & John Hawthorne (eds.), Conceivability and Possibility. Oxford University Press. 201-221.
  39. Gregory Currie (2002). Imagination as Motivation. Proceedings of the Aristotelian Society 102 (3):201-16.
    What kinds of psychological states motivate us? Beliefs and desires are the obvious candidates. But some aspects of our behaviour suggest another idea. I have in mind the view that imagination can sometimes constitute motivation.
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  40. Gregory Currie & Ian Ravenscroft (2002). Recreative Minds: Imagination in Philosophy and Psychology. Oxford University Press.
    Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.
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  41. Gregory Currie (2001). Imagination and Make-Believe. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  42. Gregory Currie (2001). Methodological Individualism. In N. J. Smelser & B. Baltes (eds.), International Encyclopedia of the Social and Behavioral Sciences. 9755--60.
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  43. Gregory Currie (2001). Response to Jinhee Choi. Journal of Aesthetics and Art Criticism 59 (3):319–319.
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  44. Gregory Currie & Jon Jureidini (2001). Delusion, Rationality, Empathy. Philosophy, Psychiatry and Psychology 8 (2-3):159-62.
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  45. Gregory Currie (2000). Imagination, Delusion and Hallucinations. In Max Coltheart & Martin Davies (eds.), Pathologies of Belief. Blackwell. 168-183.
  46. Gregory Currie (2000). Imagination, Hallucination and Delusion. Mind and Language 15 (1):168-183.
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  47. Gregory Currie (2000). Preserving the Traces: An Answer to Noël Carroll. Journal of Aesthetics and Art Criticism 58 (3):306-308.
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  48. Gregory Currie & Kim Sterelny (2000). How to Think About the Modularity of Mind-Reading. Philosophical Quarterly 50 (199):145-160.
  49. 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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  50. Gregory Currie (1999). Is Factuality a Matter of Content? Behavioral and Brain Sciences 22 (5):763-763.
    Dienes & Perner argue that there is a hierarchy of forms of implicit knowledge. One level of their hierarchy involves factuality, where it may be merely implicit that the state of affairs is supposed to be a real one rather than something imagined or fictional. I argue that the factual or fictional status of a thought or utterance cannot be a matter of concept, implicit or explicit.
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