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  1. 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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  2. Gregory Currie (1990). The Nature of Fiction. Cambridge University Press.
    This important new book provides a theory about the nature of fiction, and about the relation between the author, the reader, and the fictional text.
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  3. Gregory Currie & Nicholas Jones, McGinn on Delusion and Imagination.
  4. Gregory Currie & Kim Sterelny (2000). How to Think About the Modularity of Mind-Reading. Philosophical Quarterly 50 (199):145-160.
  5.  91
    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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  6.  45
    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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  7. Gregory Currie (2000). Imagination, Delusion and Hallucinations. In Max Coltheart & Martin Davies (eds.), Mind and Language. Blackwell 168-183.
    Chris Frith has argued that a loss of the sense of agency is central to schizophrenia. This suggests a connection between hallucinations and delusions on the one hand, and the misidentification of the subject’s imaginings as perceptions and beliefs on the other. In particular, understanding the mechanisms that underlie imagination may help us to explain the puzzling phenomena of thought insertion and withdrawal. Frith sometimes states his argument in terms of a loss of metarepresentational capacity in schizophrenia. I argue that (...)
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  8. Gregory Currie (1995). The Moral Psychology of Fiction. Australasian Journal of Philosophy 73 (2):250 – 259.
    What can we learn from fiction? I argue that we can learn about the consequences of a certain course of action by projecting ourselves, in imagination, into the situation of the fiction's characters.
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  9. Gregory Currie (1995). Image and Mind: Film, Philosophy and Cognitive Science. Cambridge University Press.
    This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion over the last twenty years. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general (...)
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  10.  38
    Gregory Currie (2002). Desire in Imagination. In Tamar S. Gendler & John Hawthorne (eds.), Conceivability and Possibility. Oxford University Press 201-221.
  11. Gregory Currie, Art and the Anthropologists.
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  12. Gregory Currie (2001). Response to Jinhee Choi. Journal of Aesthetics and Art Criticism 59 (3):319–319.
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  13. Gregory Currie & Jon Jureidini (2001). Delusion, Rationality, Empathy. Philosophy, Psychiatry and Psychology 8 (2-3):159-62.
  14. Gregory Currie (1993). Impersonal Imagining: A Reply to Jerrold Levinson. Philosophical Quarterly 44 (170):79-82.
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  15.  22
    Gregory Currie (1989). An Ontology of Art. St. Martin's Press.
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  16. Gregory Currie (1991). Photography, Painting and Perception. Journal of Aesthetics and Art Criticism 49 (1):23-29.
  17.  57
    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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  18.  51
    Gregory Currie (1995). Visual Imagery as the Simulation of Vision. Mind and Language 10 (1-2):25-44.
  19. Gregory Currie (1985). What is Fiction? Journal of Aesthetics and Art Criticism 43 (4):385-392.
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  20. Gregory Currie (1991). Work and Text. Mind 100 (3):325-340.
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  21.  88
    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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  22. 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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  23. Imre Lakatos, John Worrall & Gregory Currie (1979). The Methodology of Scientific Research Programmes: Philosophical Papers. British Journal for the Philosophy of Science 30 (4):381-402.
     
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  24. Gregory Currie (1995). Unreliability Refigured: Narrative in Literature and Film. Journal of Aesthetics and Art Criticism 53 (1):19-29.
    Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.
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  25. Gregory Currie (1976). Was Frege a Linguistic Philosopher? [REVIEW] British Journal for the Philosophy of Science 27 (1):79-92.
  26. Gregory Currie (1986). Fictional Truth. Philosophical Studies 50 (2):195 - 212.
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  27.  41
    Gregory Currie (1998). Pretence, Pretending, and Metarepresenting. Mind and Language 13 (1):35-55.
    I assess the claim that metarepresentation is a key notion in understanding the nature and development of our capacity to engage in pretence. I argue that the metarepresentational programme is unhelpful in explaining how pretence operates and, in particular, how agents distinguish pretence from belief. I sketch an alternative approach to the relations between pretending and believing. This depends on a distinction between pretending and pretence, and upon the claim that pretence stands to pretending as truth stands to belief.
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  28. Gregory Currie (1999). Visible Traces: Documentary and the Contents of Photographs. Journal of Aesthetics and Art Criticism 57 (3):285-297.
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  29.  5
    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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  30.  61
    Gregory Currie & Ian Ravenscroft (1997). Mental Simulation and Motor Imagery. Philosophy of Science 64 (1):161-80.
    Motor imagery typically involves an experience as of moving a body part. Recent studies reveal close parallels between the constraints on motor imagery and those on actual motor performance. How are these parallels to be explained? We advance a simulative theory of motor imagery, modeled on the idea that we predict and explain the decisions of others by simulating their decision-making processes. By proposing that motor imagery is essentially off-line motor action, we explain the tendency of motor imagery to mimic (...)
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  31.  74
    Gregory Currie (1988). Fictional Names. Australasian Journal of Philosophy 66 (4):471 – 488.
  32.  66
    Gregory Currie (1990). Supervenience, Essentialism and Aesthetic Properties. Philosophical Studies 58 (3):243 - 257.
  33.  99
    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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  34.  4
    Gregory Currie & Ian Ravenscroft (2004). Recreative Minds. Journal of Aesthetics and Art Criticism 62 (4):406-407.
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  35. Gregory Currie (1996). Film, Reality, and Illusion. In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press 325--44.
     
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  36. Gregory Currie (1995). Imagination as Simulation: Aesthetics Meets Cognitive Science. In Martin Davies & Tony Stone (eds.), Mental Simulation. Blackwell
  37.  15
    Gregory Currie (1998). Realism of Character and the Value of Fiction. In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. Cambridge University Press 161--81.
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  38.  87
    Gregory Currie (1997). On Being Fictional. Journal of Aesthetics and Art Criticism 55 (4):425-427.
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  39.  20
    Gregory Currie (1982). Frege, an Introduction to His Philosophy. Barnes & Noble Books.
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  40.  15
    Gregory Currie (1996). Simulation-Theory, Theory-Theory, and the Evidence From Autism. In Peter Carruthers & Peter K. Smith (eds.), Theories of Theories of Mind. Cambridge University Press 242.
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  41.  42
    Gregory Currie (1984). Individualism and Global Supervenience. British Journal for the Philosophy of Science 35 (December):345-58.
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  42.  68
    Gregory Currie & Jon Jureidini (2004). Narrative and Coherence. Mind and Language 19 (4):409–427.
  43.  77
    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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  44.  15
    Gregory Currie (1993). Mimesis as Make-Believe: On the Foundations of the Representational Arts by Kendall Walton. Journal of Philosophy 90 (7):367-370.
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  45.  39
    Gregory Currie (2006). Narrative Representation of Causes. Journal of Aesthetics and Art Criticism 64 (3):309–316.
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  46.  36
    Gregory Currie (1993). Interpretation and Objectivity. Mind 102 (407):413-428.
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  47. 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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  48.  57
    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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  49.  68
    Gregory Currie & Peter Eggenberger (1983). Knowledge of Meaning. Noûs 17 (2):267-279.
  50.  41
    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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