Search results for 'Jillian Dutton' (try it on Scholar)

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  1.  4
    Jillian Dutton (1997). Raphael Sassower's Cultural Collisions. Social Epistemology 11 (1):131 – 136.
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  2.  18
    Blake D. Dutton (1996). Indifference, Necessity, and Descartes's Derivation of the Laws of Motion. Journal of the History of Philosophy 34 (2):193-212.
    Indifference, Necessity, and Descartes's Derivation of the Laws of Motion BLAKE D. DUTTON WHILE WORKING ON Le Monde, his first comprehensive scientific treatise, Des- cartes writes the following to Mersenne: "I think that all those to whom God has given the use of this reason have an obligation to employ it principally in the endeavor to know him and to know themselves. This is the task with which I began my studies; and I can say that I would not (...)
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  3.  30
    Denis Dutton (2009). The Art Instinct: Beauty, Pleasure, & Human Evolution. Bloomsbury Press.
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
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  4.  5
    Elaine Fox, Victoria Lester, Riccardo Russo, R. J. Bowles, Alessio Pichler & Kevin Dutton (2000). Facial Expressions of Emotion: Are Angry Faces Detected More Efficiently? Cognition and Emotion 14 (1):61-92.
  5.  3
    Elaine Fox, Riccardo Russo & Kevin Dutton (2002). Attentional Bias for Threat: Evidence for Delayed Disengagement From Emotional Faces. Cognition and Emotion 16 (3):355-379.
  6. Elaine Fox, Riccardo Russo, Robert Bowles & Kevin Dutton (2001). Do Threatening Stimuli Draw or Hold Visual Attention in Subclinical Anxiety? Journal of Experimental Psychology: General 130 (4):681.
  7. Paul R. Farnsworth, J. C. Trembley & C. E. Dutton (1951). Masculinity and Femininity of Musical Phenomena. Journal of Aesthetics and Art Criticism 9 (3):257-262.
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  8. David Dutton (2013). 'They Were the Best of Friends; They Were the Worst of Friends': A Tale of Two MPs. Bulletin of the John Rylands Library 89 (2):33-50.
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  9. Jonathon D. Brown, Keith A. Dutton & Kathleen E. Cook (2001). From the Top Down: Self-Esteem and Self-Evaluation. Cognition and Emotion 15 (5):615-631.
  10.  18
    Donald L. McCabe, Janet M. Dukerich & Jane E. Dutton (1991). Context, Values and Moral Dilemmas: Comparing the Choices of Business and Law School Students. [REVIEW] Journal of Business Ethics 10 (12):951 - 960.
    Much has been written about the ethics and values of today's business student, but this research has generally been characterized by a variety of methodological shortcomings — the use of convenience samples, a failure to establish the relevance of comparison groups employed, attempts to understand behavior in terms of unidimensional values preselected by the researcher, and the lack of well-designed longitudinal studies. The research reported here addresses many of these concerns by comparing the values and ethical decision making behavior of (...)
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  11.  53
    Denis Dutton (2006). A Naturalist Definition of Art. Journal of Aesthetics and Art Criticism 64 (3):367–377.
    Aesthetic theoriesmayclaim universality, but they are normally conditioned by the aesthetic issues and debates of their own times. Plato and Aristo- tle were motivated both to account for the Greek arts of their day and to connect aesthetics to their general metaphysics and theories of value. Closer to our time, asNo¨el Carroll observes, the theories of Clive Bell and R.G. Collingwood can be viewed as “defenses of emerging avant-garde practices— neoimpressionism, on the one hand, and the mod- ernist poetics of (...)
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  12. Denis Dutton (2003). Authenticity in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press 258--274.
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  13.  12
    Denis Dutton (2010). The Art Instinct: Beauty, Pleasure, and Human Evolution. OUP Oxford.
    The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.
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  14.  16
    Karen Bardsley, Denis Dutton & Michael Krausz (eds.) (2009). The Idea of Creativity. Brill.
    Seventeen philosophical thinkers ask: What is creativity? What are the criteria of creativity? Should we assign logical priority to creative persons, processes, or products? How do various forms of creativity relate to different domains of human activity?
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  15.  9
    Michael McCormick, Paul Edward Dutton & Paul A. Mayewski (2007). Volcanoes and the Climate Forcing of Carolingian Europe, A.D. 750–950. Speculum 82 (4):865-895.
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  16. Denis Dutton (1979). Artistic Crimes: The Problem of Forgery in the Arts. British Journal of Aesthetics 19 (4):302-314.
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  17.  49
    Denis Dutton (2003). Aesthetics and Evolutionary Psychology. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford
  18.  78
    Denis Dutton (2001). Aesthetic Universals. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge 203--214.
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  19.  57
    Denis Dutton (1994). Kant and the Conditions of Artistic Beauty. British Journal of Aesthetics 34 (3):226-239.
  20.  8
    Donald L. McCabe, Janet M. Dukerich & Jane E. Dutton (1994). The Effects of Professional Education on Values and the Resolution of Ethical Dilemmas: Business School Vs. Law School Students. [REVIEW] Journal of Business Ethics 13 (9):693-700.
    Prior research on the impact of ethics education within the business curriculum has yielded mixed results. Although the impact is often found to be positive, it appears to be both small and short-lived. Interpretation of these results, however, is subject to important methodological limitations. The present research employed a longitudinal methodology to evaluate the impact of an M.B.A. program versus a law program on the values and ethical decision making behavior of a cohort of students at two major universities in (...)
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  21.  8
    Donald L. McCabe, Janet M. Dukerich & Jane Dutton (1993). Values and Moral Dilemmas. Business Ethics Quarterly 3 (2):117-130.
    M.B.A. programs in the United States continue to admit foreign students in record numbers, yet we know little about how this cultural diversity may impact the values and ethical decision making behavior of either American or foreign students. The research discussed here examined this issue within the context of a large M.B.A. program where non-U.S. citizens comprise over twenty percent of the student population. Comparisons of U.S. and Asian students supported existing notions about the independent vs. interdependent conceptions of the (...)
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  22.  24
    Denis Dutton (1993). Tribal Art and Artifact. Journal of Aesthetics and Art Criticism 51 (1):13-21.
    Europeans seeking to understand tribal arts face obvious problems of comprehending the histories, values, and ideas of vastly remote cultures. In this respect the issues faced in understanding tribal art (or folk art, primitive art, traditional art, third or fourth-world art — none of these designations is ideal) are not much different from those encountered in trying to comprehend the distant art of “our own” culture, for instance, the art of medieval Europe. But in the case of tribal or so-called (...)
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  23.  72
    Denis Dutton, Artistic Crimes.
    The concept of forgery is a touchstone of criticism. If the existence of forgeries — and their occasional acceptance as authentic works of art — has been too often dismissed or ignored in the theory of criticism, it may be because of the forger’s special power to make the critic look ridiculous. Awkward as it is, critics have heaped the most lavish praise on art objects that have turned out to be forged. The suspicion this arouses is, of course, that (...)
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  24.  55
    Denis Dutton, Why Intentionalism Won't Go Away.
    Considering the philosophic intelligence that has set out to discredit it, intentionalism in critical interpretation has shown an uncanny resilience. Beginning perhaps most explicitly with the New Criticism, continuing through the analytic tradition in philosophy, and culminating most recently in deconstructionism, philosophers and literary theorists have kept under sustained attack the notion that authorial intention can provide a guide to interpretation, a criterion of textual meaning, or a standard for the validation of criticism. Yet intentionalist criticism still has avid theoretical (...)
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  25.  45
    Blake D. Dutton (2001). Al-Ghazālī on Possibility and the Critique of Causality. Medieval Philosophy and Theology 10 (1):23-46.
    One of the most striking features of speculative theology (kalaam) as it developed within the Ash'arite tradition of Islam is its denial of causal power to creatures. Much like Malebranche in the seventeenth century, the Ash'arites saw this denial as a natural extension of monotheism and were led as a result to embrace an occasionalist account of causality. According to their analysis, causal power is identical with creative power, and since God is the sole and sovereign creator, God is the (...)
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  26.  15
    Gregory Currie & Denis Dutton (1985). The Forger's Art. Forgery and the Philosophy of Art. Philosophical Quarterly 35 (141):435.
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  27.  51
    Denis Dutton (1973). Criticism and Method. British Journal of Aesthetics 13 (3):232-242.
    The charge that a particular critical remark is “irrelevant” to its object is one of the most frequently heard in discussion and debate among critics. Frequently heard because frequently true: there has never been a shortage of criticism which aimlessly relates the work to the artist’s biography, or invokes inappropriate artistic standards, or employs pointless historical speculation, or describes the critic’s own foggy reveries to misdirect our attention and obscure the essential significance of the object before us. But even if (...)
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  28.  50
    Denis Dutton, Forgery and Plagiarism.
    FORGERY and PLAGIARISM are both forms of fraud. In committing art forgery I claim my work is by another person. As a plagiarist, I claim another person’s work is my own. In forgery, someone’s name is stolen in order to add value to the wrong work; in plagiarism someone’s work is stolen in order to give credit to the wrong author.
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  29.  9
    Denis Dutton (2000). Art and Sexual Selection. Philosophy and Literature 24 (2):512-521.
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  30.  33
    Denis Dutton (2004). The Pleasures of Fiction. Philosophy and Literature 28 (2):453-466.
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  31.  49
    Denis Dutton, Delusions of Postmodernism.
    That postmodernism is a general cultural mood and a style in art, architecture, and literature is uncontroversial. But does postmodernism present a coherent intellectual doctrine or theory of politics, art, or life? In the discussion which follows, I will concentrate on two aspects of the intellectual pretensions of postmodernism. First, I examine the postmodernist claim that to justify the idea that the postmodern world is characterized by a general indeterminacy of meaning. Next I will look at aspects of the postmodernist (...)
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  32.  25
    Denis Dutton (1977). Plausibility and Aesthetic Interpretation. Canadian Journal of Philosophy 7 (2):327 - 340.
    If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances (...)
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  33.  13
    Paul Edward Dutton (1997). Eriugena, De la Division de la Nature: Periphyseon, Livre Il: La Nature Créatrice Incréée, Livre II: La Nature Creatrice Créée. Review of Metaphysics 50 (3):654-656.
  34.  15
    Denis Dutton (2001). What is Genius? Philosophy and Literature 25 (1):181-196.
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  35.  8
    Paul Edward Dutton & Anneli Luhtala (1994). Eriugena in Priscianum. Mediaeval Studies 56 (1):153-163.
  36.  10
    Paul Edward Dutton (1983). Illustre Ciuitatis Et Populi Exemplum: Plato's Timaeus and the Transmission From Calcidius to the End of the Twelfth Century of a Tripartite Scheme of Society. Mediaeval Studies 45 (1):79-119.
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  37.  13
    Denis Dutton (1992). Beauty Is Fun and Fun Beauty —or Is That All Ye Need to Know? Philosophy and Literature 16 (2):432-437.
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  38.  7
    Alan Dutton (1995). Action, Intention, and Reason. Philosophical Books 36 (3):191-192.
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  39.  33
    Kenneth Corvo, Donald Dutton & Wan-Yi Chen (2009). Do Duluth Model Interventions with Perpetrators of Domestic Violence Violate Mental Health Professional Ethics? Ethics and Behavior 19 (4):323 – 340.
    In spite of numerous studies of program outcomes finding little or no positive effect on violent behavior, the Duluth model remains the most common program type of interventions with perpetrators of domestic violence. In addition, Duluth model programs often ignore serious mental health and substance abuse issues present in perpetrators. These and other issues of possible threat to mental health professional ethics are reviewed in light of the court-mandated, compulsory nature of most Duluth model programs and client and victim expectations (...)
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  40.  8
    Wesley Dutton (2014). Aristotle: Eudemian Ethics Brad Inwood and Raphael Woolf, Editors Cambridge: Cambridge University Press, 2013. 168 Pp. $19.95. [REVIEW] Dialogue 53 (4):777-778.
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  41.  33
    Denis Dutton, Kitsch.
    “Kitsch” has sometimes been used (for example, by Harold Rosenberg) to refer to virtually any form of popular art or entertainment, especially when sentimental. But though much popular art is cheap and crude, it is at least direct and unpretentious. On the other hand, a persistent theme in the history of the usage of “kitsch,” going back to the word’s mid-European origins, is pretentiousness, especially in reference to objects that ape whatever is conventionally viewed as high art. As Arnold Hauser (...)
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  42.  4
    Paul Edward Dutton (1984). The Uncovering of the Glosae Super Platonem of Bernard of Chartres. Mediaeval Studies 46 (1):192-221.
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  43.  5
    Denis Dutton (1993). Faking Your Way to Tenure. Philosophy and Literature 17 (2):402-409.
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  44.  19
    Denis Dutton (1974). To Understand It on its Own Terms. Philosophy and Phenomenological Research 35 (2):246-256.
    We commonly hear it said that a work of art must be understood “on its own terms,” and that phrase is used in other contexts as well; people, especially people very different from ourselves, are said to have to be understood on their own terms. But what is the meaning of the expression “on its/their own terms?” Note that we do not say of every possible object of understanding that it must be understood on its own terms. The statement, “Chemistry (...)
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  45.  6
    Paul Edward Dutton (1980). Raoul Glaber's' De Diuina Quaternitate': An Unnoticed Reading of Eriugena's Translation of the Ambigua of Maximus the Confessor. Mediaeval Studies 42 (1):431-453.
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  46.  10
    Denis Dutton (1992). Decontextualized Crab; Nietzsche Dreams of Detroit. Philosophy and Literature 16 (1):239-249.
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  47.  34
    Blake D. Dutton (2003). Descartes's Dualism and the One Principal Attribute Rule. British Journal for the History of Philosophy 11 (3):395 – 415.
  48.  19
    Blake D. Dutton (1993). The Ontological Argument. American Catholic Philosophical Quarterly 67 (4):431-450.
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  49.  27
    Blake D. Dutton (1999). Physics and Metaphysics in Descartes and Galileo. Journal of the History of Philosophy 37 (1):49-71.
  50.  8
    John D. Dutton (1961). Whether. Synthese 13 (4):364 - 371.
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