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John Fisher [37]John Andrew Fisher [23]John H. Fisher [15]John A. Fisher [4]
John J. Fisher [3]Johnna Elizabeth Ann Fisher [1]John Martin Ed Fisher [1]John Martin Fisher [1]

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Profile: John Fisher
Profile: John Fisher
Profile: Johnna Fisher (University of British Columbia)
  1. John Andrew Fisher (1996). The Myth of Anthropomorphism John Andrew Fisher. In Colin Allen & D. Jamison (eds.), Readings in Animal Cognition. MIT Press
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  2.  78
    J. Elster, K. Moene, Cambridge Cambridge, Jan Faye, John Martin Ed Fisher, Stanford Stanford, E. Forster & Steve Fuller (1990). 555PP-,£ 2500 Davis, Caroline Franks, The Evidential Force of Religious Experience, Oxford, Oxford University Press, 1989, 276pp.,£ 27.50 Donaldson, John, Key Issues in Business Ethics, Sidcup, Kent, Harcourt Brace Jovanovich Ltd., 1989, 251pp.,£ 25.00, Paper£ 9.95. [REVIEW] Mind 99:393.
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  3. John Andrew Fisher (1995). Is There a Problem of Indiscernible Counterparts? Journal of Philosophy 92 (9):467-484.
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  4. John A. Fisher (2001). Low Art. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge 409.
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  5. John Fisher (1985). Monroe C. Beardsley 1915-1985. Journal of Aesthetics and Art Criticism 44 (1):283-284.
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  6.  98
    John Andrew Fisher (1991). Discovery, Creation, and Musical Works. Journal of Aesthetics and Art Criticism 49 (2):129-136.
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  7.  23
    John Andrew Fisher (1998). What the Hills Are Alive With: In Defense of the Sounds of Nature. Journal of Aesthetics and Art Criticism 56 (2):167-179.
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  8.  27
    John Martin Fisher (2004). Dan Dares. The Philosophers' Magazine 25 (25):56-56.
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  9.  68
    John Fisher (1978). On Perceiving the Impossible. British Journal of Aesthetics 18 (1):19-30.
  10.  44
    John Fisher (1987). Some New Problems in Perspective. British Journal of Aesthetics 27 (3):201-212.
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  11.  52
    John Andrew Fisher & Jason Potter (1997). Technology, Appreciation, and the Historical View of Art. Journal of Aesthetics and Art Criticism 55 (2):169-185.
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  12.  8
    John J. Fisher (1954). On Defining Good. Journal of Philosophy 51 (23):730-736.
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  13.  25
    John Fisher & Ernest Sosa (1971). Values and the Future, the Impact of Technological Change on American Values Edited by Kurt Baier and Nicholas Rescher. World Futures 10 (3):353-361.
    (1971). Values and the Future, the Impact of Technological Change on American Values Edited by Kurt Baier and Nicholas Rescher. World Futures: Vol. 10, No. 3-4, pp. 353-361.
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  14. John A. Fisher (2001). High Art Versus Low Art. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge
     
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  15.  15
    Jeanette Bicknell & John Andrew Fisher (2013). Introduction: Making a Space for Song. Journal of Aesthetics and Art Criticism 71 (1):1-11.
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  16. John Fisher (1981). Did Plato Have A Theory of Art? Pacific Philosophical Quarterly 62 (3):249.
     
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  17.  20
    John Andrew Fisher (1994). Why Potentiality Does Not Matter: A Reply to Stone. Canadian Journal of Philosophy 24 (2):261 - 279.
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  18.  8
    John Fisher (1974). Knowledge of Rules. Review of Metaphysics 28 (2):237 - 260.
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  19.  7
    John Andrew Fisher (1996). The Fine Art of Repetition. Philosophy and Phenomenological Research 56 (4):962-965.
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  20.  4
    John Andrew Fisher (1981). Aberrant Speakers and Linguistic Philosophy: A Reconsideration of the Dialogue Between Cavell and the Baker. Philosophical Investigations 4 (4):24-44.
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  21.  1
    John Fisher (1977). Chancery and the Emergence of Standard Written English in the Fifteenth CenturyArticle Author Queryfisher Jh [Google Scholar]. Speculum 52 (4):870-899.
    There has been some discussion of late among descriptive linguists and socio-linguists as to the nature of “standard” English, the one tending to deny the existence of a standard, because of variations in the spoken language, and the other arguing that the standard language is an elitist shibboleth erected to perpetuate the authority of the dominant culture. Neither of these positions recognizes the historical fact that in every society there is a formal, official language in which business is carried on, (...)
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  22.  18
    John Andrew Fisher (1984). Linguistic Idealism. Metaphilosophy 15 (1):26–34.
  23.  4
    John Andrew Fisher (forthcoming). The Value of Natural Sounds. Journal of Aesthetic Education.
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  24.  12
    John Andrew Fisher (2007). Performing Nature. Environmental Philosophy 4 (1/2):15-28.
    Natural environments differ from artworks in two ways: (a) they are surroundings filled with objects, processes, and the observer, (b) they are natural, not intentionally created to be appreciated. I show that this serious problem for accounts of aesthetic appreciation of nature has led many thinkers in environmental aesthetics (e.g., Carlson and Rolston) to claim that appreciators should be actively engaged with a natural environment. But how? One suggestion has been that appreciators play the role of creative performers in the (...)
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  25.  1
    William J. Courtenay, F. Edward Cranz, Franz Rosenthal, Robert L. Benson, Berthe Marti, T. N. Bisson, Larry D. Benson, George Kane, Fred C. Robinson, Leonard Boyle, Brian Tierney, Stephan Kuttner, Robert Hanning, John Pope, Samuel Thorne, John W. Baldwin, Theodore M. Andersson, Archibald R. Lewis, Jaroslav Pelikan, David Herlihy, John Leyerle, John H. Fisher, Ruth J. Dean, William J. Roach, Siegfried Wenzel, Archibald L. Lewis, Bryce Lyon, G. P. Cuttino, John F. Benton, Marshall Clagett, Richard H. Rouse & Edward Grant (1988). Memoirs of Fellows and Corresponding Fellows of the Medieval Academy of America. Speculum 63 (3):755-771.
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  26. John Fisher (1981). Perceiving Artworks. Journal of Aesthetics and Art Criticism 39 (3):315-316.
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  27.  5
    John Fisher (1984). Entitling. Critical Inquiry 11 (2):286-298.
    For the moment, I assume that we have some rough idea of what “title” is supposed to mean: the large letters on the spine of a book, the words on the center of the first page of a musical score, or the little plate on the museum wall to the right of the painting . Thus examples of titles would be The Taming of the Shrew, “Mapleleaf Rag,” or The Birth of Venus, but that generates a rather complex set of (...)
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  28. John H. Fisher (1992). RF Yeager, John Gower's Poetic: The Search for a New Arion.(Publications of the John Gower Society, 2.) Woodbridge, Suffolk; and Wolfeboro, NH: Boydell and Brewer, 1990. Pp. Vii, 289; 2 Errata Sheets. $73. [REVIEW] Speculum 67 (3):759-761.
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  29. Joe R. Burnett, John Fisher & Richard Shusterman (1989). Symposium on John Dewey's Art as Experience. Journal of Aesthetic Education 23 (3):49-67.
     
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  30.  11
    John Andrew Fisher (2004). On Carroll's Enfranchisement of Mass Art as Art. Journal of Aesthetics and Art Criticism 62 (1):57-61.
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  31.  10
    John Fisher & Jeffrey Maitland (1974). The Subjectivist Turn in Aesthetics: A Critical Analysis of Kant's Theory of Appreciation. Review of Metaphysics 27 (4):726 - 751.
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  32.  3
    John Fisher (1976). The Ease and Difficulty of Theory. Dialectics and Humanism 3 (2):117-123.
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  33.  10
    John Fisher (1974). Universalizability and Judgments of Taste. American Philosophical Quarterly 11 (3):219 - 225.
  34.  4
    John H. Fisher (1988). Animadversions on the Text of Chaucer, 1988. Speculum 63 (4):779-793.
    The address of the President to his colleagues at the Medieval Academy is an invitation to speak about a subject close to the heart. I was told by the aunt who met me at the boat when I returned from Persia at the age of fourteen — a typical Kipling child, leaving my family on the other side of the world and returning home to school — that when she asked me what I was going to do when I grew (...)
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  35.  2
    John Fisher (2010). Conjectures and Reputations: The Composition and Reception of James Bradley's Paper on the Aberration of Light with Some Reference to a Third Unpublished Version. British Journal for the History of Science 43 (1):19-48.
    In January 1729 a paper written by James Bradley was read at two meetings of the Royal Society. On a newly discovered motion of the fixed stars, later described as the theory of the aberration of light, it was to transform the science of astrometry. The paper appeared as a narrative of a programme of observation first begun at Kew and finalized at Wanstead, but it was, in reality, a careful reconstruction devised to enhance his reputation in response to a (...)
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  36.  2
    John H. Fisher (1981). ”J. D. Burnley, Chaucer's Language and the Philosophers' Tradition. Cambridge: D. S. Brewer; Totowa, N.J.: Rowman and Littlefield„ 1979. Pp. Ix, 196. $30. [REVIEW] Speculum 56 (2):448-449.
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  37.  2
    John J. Fisher (1965). Santayana on James: A Conflict of Views on Philosophy. American Philosophical Quarterly 2 (1):67 - 73.
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  38.  8
    Jeanette Bicknell & John Andrew Fisher (2011). Call for Papers Song, Songs, and Singing. Journal of Aesthetics and Art Criticism 69 (4):vii-vii.
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  39.  4
    John A. Fisher (1980). Understanding, Linguistic Competence and Knowledge. Philosophical Forum 12 (1):3.
    THIS PAPER ATTEMPTS TO PROVIDE A SYSTEMATIC CHARACTERIZATION OF THE UNDERSTANDING PRESUPPOSED BY PROPOSITIONAL KNOWLEDGE. BEGINNING WITH THE HYPOTHESIS THAT THE UNDERSTANDING UNDERLYING KNOWLEDGE IS LINGUISTIC IN NATURE, A HYPOTHESIS I CALL "LT," I STATE AND CRITICIZE DANTO'S VERSION OF LT, WHICH ANALYZES THIS UNDERSTANDING AS THE UNDERSTANDING OF SENTENCES. I SHOW THAT HIS (INTELLECTUALIZED) VIEW OF WHAT IT IS TO UNDERSTAND LANGUAGE IS INCORRECT. BY DISTINGUISHING A COMPETENCE FROM A PERFORMANCE SENSE OF "UNDERSTANDS "S"," AND BY NOTING THAT LANGUAGE (...)
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  40.  3
    John H. Fisher (1980). John M. Fyler, Chaucer and Ovid, New Haven and London: Yale University Press, 1979. Pp. X, 206. Speculum 55 (4):866.
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  41. John Fisher (1989). Wolfgang Iser, Walter Pater: The Aesthetic Moment Reviewed By. Philosophy in Review 9 (1):19-22.
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  42.  8
    John Andrew Fisher (2007). Is It Worth It? Lintott and Ethically Evaluating Environmental Art. Ethics, Place and Environment 10 (3):279 – 286.
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  43.  3
    John Andrew Fisher (1990). The Very Idea of Perfect Realism. Philosophical Forum 22 (1):49.
    I define "perfect realism" as a style of replicative sculpture: exact replicas of inanimate objects or humans. Differentiating perfect realism from "photo" or "super" realism, and from representation, I criticize various defenses of this type of art. I argue that to understand perfect realism we need a theory of replication, which I sketch. Part of the account involves X (a replica) causing the perceptual experience that it is a Y when it is not. Hence perfect realism turns on the generic (...)
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  44.  9
    John Fisher (1975). Fallibility and Knowledge of the Future. Philosophy and Phenomenological Research 36 (1):44-58.
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  45.  3
    John Fisher (1966). Plato on Writing and Doing Philosophy. Journal of the History of Ideas 27 (2):163.
    The author believes that plato's view of the nature of philosophical activity can be seen in plato's paradoxical attitude toward the relationship between the written and spoken word. The "phaedrus" is examined from this perspective, And the author concludes that the varied wing symbols used by plato here indicate that although written words "have no wings," the words of philosophy do. Written words have some effectiveness for persuasion, But a philosopher needs more spirited interaction than this; only the spoken word (...)
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  46.  5
    John Fisher (1968). Evaluation Without Enjoyment. Journal of Aesthetics and Art Criticism 27 (2):135-139.
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  47.  7
    John Andrew Fisher (2009). Review of Scott Walden (Ed.), Photography and Philosophy: Essays on the Pencil of Nature. [REVIEW] Notre Dame Philosophical Reviews 2009 (2).
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  48.  2
    John Fisher, Understanding and Assessing Spiritual Health.
    This chapter explores awareness and compassion as essential elements in spiritual cultivation. Of the education of awareness, it describes the ideas of Aldous Huxley and J. Krishnamurthi as well as the Buddha’s teachings on mindfulness. The practice of awareness would reveal a holistic experience and multiple dimensions of reality. This chapter briefly describes the author’s view of “the five dimensions of reality” that include dimensions from the surface to the deepest, infinite reality. Drawing on Eastern perspectives, it explains that “pure (...)
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  49.  2
    John Fisher (1986). Against Theory, Again. Journal of Aesthetic Education 20 (4):50.
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  50.  1
    John Fisher (1974). Destruction as a Mode of Creation. Journal of Aesthetic Education 8 (2):57.
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