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  1. Jerome Ashmore (1979). Vasily Kandinsky and His Idea of Ultimate Reality. Ultimate Reality and Meaning 2:228-256.
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  2. Jerome Ashmore (1977). Sound in Kandinsky's Painting. Journal of Aesthetics and Art Criticism 35 (3):329-336.
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  3. Jerome Ashmore (1974). Essence in Recent Philosophy: Husserl, Whitehead, Santayana. Philosophy Today 18 (3):198-210.
    A comparative study to determine the significance of essence in the doctrine of three philosophers. By his method of reduction husserl disclosed his version of essence and used it to establish phenomenology as a rigorous science and to see phenomena solely as phenomena. Whitehead identified essence with his "eternal objects" and this identification protected his "actual occasions" from the limitations of empiricism. By means of essence seen exclusively as appearance and relations, Santayana supports his ingenious thesis that nothing given exists. (...)
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  4. Jerome Ashmore (1972). Diverse Currents in Whitehead's View of Time. Process Studies 2 (3):193-200.
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  5. Jerome Ashmore (1970). The Artist's Adequation. Man and World 3 (3):268-274.
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  6. Jerome Ashmore (1966). Santayana, Art, and Aesthetics. [Cleveland]Press of Western Reserve University.
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  7. Jerome Ashmore (1965). Santayana. New Scholasticism 39 (1):109-111.
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  8. Jerome Ashmore (1964). Some Difficulties in Santayana's Ontology. The Monist 48 (3):356-365.
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  9. Jerome Ashmore (1963). Form and Paradox in Santayana's Truth. Revue Internationale de Philosophie 17:18-36.
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  10. Jerome Ashmore (1962). Can Santayana's Essence Reach Existence? New Scholasticism 36 (2):180-191.
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  11. Jerome Ashmore (1957). Letter to the Editor. Journal of Aesthetics and Art Criticism 16 (2):263-264.
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  12. Jerome Ashmore (1956). Santayana's Mistrust of Fine Art. Journal of Aesthetics and Art Criticism 14 (3):339-347.
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  13. Jerome Ashmore (1955). Some Differences Between Abstract and Non-Objective Painting. Journal of Aesthetics and Art Criticism 13 (4):486-495.
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  14. Jerome Ashmore (1951). The Old and the New in Non-Objective Painting. Journal of Aesthetics and Art Criticism 9 (4):294-300.
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