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Profile: Jenefer Robinson (University of Cincinnati)
  1. Jenefer Robinson (2005). Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. Clarendon Press.
    Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...)
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  2.  99
    Nico H. Frijda & Jenefer M. Robinson (2010). Bob Solomon's Legacy: Introduction. Emotion Review 2 (1):3-4.
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  3. Jenefer Robinson (2005). Deeper Than Reason Emotion and its Role in Literature, Music and Art: Emotion and its Role in Literature, Music and Art. Oxford University Press Uk.
    Deeper than Reason takes the insights of modern psychological and neuroscientific research on the emotions and brings them to bear on questions about our emotional involvement with the arts. Robinson begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work on emotions, and then in the light of this theory examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her (...)
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  4. Jenefer M. Robinson (2004). Emotion: Biological Fact or Social Construction. In Robert C. Solomon (ed.), Thinking About Feeling: Contemporary Philosophers on Emotions. Oxford University Press
     
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  5. Jenefer Robinson (1995). Startle. Journal of Philosophy 92 (2):53-74.
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  6. Jenefer M. Robinson (1981). Style and Significance in Art History and Art Criticism. Journal of Aesthetics and Art Criticism 40 (1):5-14.
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  7.  70
    Stephen Davies, Robert Hopkins, Jenefer Robinson & Elisabeth Schellekens (2004). Aesthetics and Subjectivity: From Kant to Nietzsche. British Journal of Aesthetics 44 (3):304-307.
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  8. Jenefer Robinson (2000). Languages of Art at the Turn of the Century. Journal of Aesthetics and Art Criticism 58 (3):213-218.
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  9. Jenefer Robinson (1977). Syntax, Meaning and Context: A Reply to Keenan. Philosophical Quarterly 27 (107):162-164.
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  10. Jenefer M. Robinson (1988). Personal Identity and Survival. Journal of Philosophy 85 (June):319-28.
  11.  89
    Jenefer Robinson (1994). The Expression and Arousal of Emotion in Music. Journal of Aesthetics and Art Criticism 52 (1):13-22.
  12.  66
    Jenefer Robinson (2013). Savoring Disgust: The Foul and Fair in Aesthetics, by Carolyn Korsmeyer. [REVIEW] Mind 122 (486):fzt077.
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  13.  77
    Jenefer Robinson (2008). Do All Musical Emotions Have the Music Itself as Their Intentional Object? Behavioral and Brain Sciences 31 (5):592-593.
    Juslin & Vll (J&V) think that all emotions aroused by music have the music itself as their Some of the mechanisms they discuss almost certainly involve both cognitive appraisals and intentional objects. But some of the mechanisms are non-cognitive: they involve neither cognitive appraisals nor intentional objects. Partly for this reason they may produce moods rather than emotions proper.
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  14.  45
    Jenefer M. Robinson (1983). Emotion, Judgement, and Desire. Journal of Philosophy 80 (November):731-740.
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  15.  66
    Jenefer M. Robinson (1985). Style and Personality in the Literary Work. Philosophical Review 94 (2):227-247.
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  16.  24
    Jenefer Robinson (2014). Aesthetic Disgust? Royal Institute of Philosophy Supplement 75:51-84.
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  17.  11
    Gregory Karl & Jenefer Robinson (2015). Yet Again, ‘Between Absolute and Programme Music’. British Journal of Aesthetics 55 (1):19-37.
    In this paper, we contest Peter Kivy’s claim that there is a clear opposition between ‘absolute music’ and programme music and between musical form and musical expressiveness. We argue, on the contrary, that much music falls somewhere between absolute and programme music as Kivy conceives the categories, and that such music is often primarily organized not on purely formal principles but by means of the overall ‘expressive trajectory’ or ‘poetic idea’ of the piece. Kivy is dismissive of all ‘narrativist’ interpretations (...)
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  18.  80
    Jenefer Robinson (2009). Review of Charles O. Nussbaum, The Musical Representation: Meaning, Ontology, and Emotion. [REVIEW] Notre Dame Philosophical Reviews 2009 (3).
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  19.  61
    Jenefer Robinson (1995). L'éducation Sentimentale. Australasian Journal of Philosophy 73 (2):212 – 226.
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  20.  74
    Jenefer Robinson (2002). Review: Aesthetics and Ethics: Essays at the Intersection. [REVIEW] Mind 111 (443):687-693.
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  21.  51
    Gregory Karl & Jenefer Robinson (1995). Shostakovich's Tenth Symphony and the Musical Expression of Cognitively Complex Emotions. Journal of Aesthetics and Art Criticism 53 (4):401-415.
  22.  30
    Jenefer Robinson (2012). On Being Moved by Architecture. Journal of Aesthetics and Art Criticism 70 (4):337–353.
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  23.  58
    Jenefer Robinson (1979). Some Remarks on Goodman's Language Theory of Pictures. British Journal of Aesthetics 19 (1):63-75.
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  24.  49
    Jenefer Robinson (2008). This is Your Brain on Music: The Science of a Human Obsession by Levitin, Daniel J. Journal of Aesthetics and Art Criticism 66 (1):91–94.
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  25. Jenefer Robinson (1989). Ronald de Sousa, The Rationality of Emotion. [REVIEW] Philosophy in Review 9:224-228.
     
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  26. Jenefer M. Robinson (1989). Ronald de Sousa, The Rationality of Emotion Reviewed By. Philosophy in Review 9 (6):224-228.
     
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  27.  31
    Jenefer Robinson (1984). General and Individual Style in Literature. Journal of Aesthetics and Art Criticism 43 (2):147-158.
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  28.  14
    Jenefer Robinson (2013). Three Theories of Emotion—Three Routes for Musical Arousal. In Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control. OUP Oxford 155.
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  29.  15
    Jenefer Robinson & Stephanie Ross (1990). Women, Morality, and Fiction. Hypatia 5 (2):76-90.
    We apply Carol Gilligan's distinction between a "male" mode of moral reasoning, focussed on justice, and a "female" mode, focussed on caring, to the reading of literature. Martha Nussbaum suggests that certain novels are works of moral philosophy. We argue that what Nussbaum sees as the special ethical contribution of such novels is in fact training in the stereotypically female mode of moral concern. We show this kind of training is appropriate to all readers of these novels, not just to (...)
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  30.  31
    Jenefer Robinson (2004). The Art of Distancing: How Formal Devices Manage Our Emotional Responses to Literature. Journal of Aesthetics and Art Criticism 62 (2):153–162.
  31.  10
    Jenefer Robinson (1977). The Eliminability of Artistic Acts. Journal of Aesthetics and Art Criticism 36 (1):81-89.
  32.  19
    Jenefer Robinson (2004). Peter Goldie, The Emotions: A Philosophical Exploration:The Emotions: A Philosophical Exploration. Ethics 114 (2):346-350.
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  33.  15
    Jenefer Robinson (1985). What is an Emotion? Teaching Philosophy 8 (1):79-81.
  34. Jenefer Robinson (1984). Catherine Z. Elgin, With Reference to Reference Reviewed By. Philosophy in Review 4 (1):22-24.
     
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  35.  19
    Gregory Karl & Jenefer Robinson (1995). Levinson on Hope in the Hebrides. Journal of Aesthetics and Art Criticism 53 (2):195-199.
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  36.  19
    Jenefer Robinson (2007). Review of Matthew Kieran (Ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. [REVIEW] Notre Dame Philosophical Reviews 2007 (2).
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  37.  6
    Jenefer M. Robinson (2010). Bob Solomon and William James: A Rapprochement. Emotion Review 2 (1):53-60.
    Bob Solomon used to inveigh against William James’ theory of emotions, but he eventually arrived at a rapprochement with James and James’s recent successors. In particular, James suggested that emotions are initiated by the “automatic, instinctive” appraisals that register important information in the body and are recorded by body-mapping brain areas. In recent work Solomon describes the judgments he thinks constitute emotions as felt bodily appraisals in similar fashion.
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  38. Jenefer Robinson (1998). Music and Meaning. Journal of Aesthetics and Art Criticism 56 (3):314-316.
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  39.  15
    Jenefer Robinson (1981). Representation in Music and Painting. Philosophy 56 (217):408 - 413.
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  40.  14
    Jenefer Robinson (1974). The Individuation of Speech Acts. Philosophical Quarterly 24 (97):316-336.
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  41.  4
    Jenefer Robinson (2010). Problemas da estética. Critica.
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  42.  4
    Jenefer Robinson (forthcoming). Two Concepts of Expression. Journal of Aesthetic Education.
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  43. Jenefer Robinson (1991). Patricia S. Greenspan, Emotions and Reasons Reviewed By. Philosophy in Review 11 (2):101-104.
     
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  44.  7
    Jenefer Robinson (1989). Basic Issues in Aesthetics. Teaching Philosophy 12 (1):95-97.
  45.  1
    Jenefer Robinson (2004). The Emotions in Art. In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell Pub. 174--192.
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  46. Jenefer Robinson (2007). Can Music Function as a Metaphor of Emotional Life? In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press 149-177.
     
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  47. Jenefer Robinson (2005). A Sentimental Education. Clarendon Press.
     
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  48. Jenefer Robinson (2007). Can Music Function as a Metaphor of Emotional Life? In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press
     
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  49. Jenefer Robinson (1984). Catherine Z. Elgin, With Reference to Reference. [REVIEW] Philosophy in Review 4:22-24.
     
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  50. Jenefer Robinson (2010). Emotion and the Understanding of Narrative. In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell
     
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