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Profile: Jonathan Gilmore (Columbia University)
  1. Jonathan Gilmore, Internal Beauty.
    In the title essay of The Philosophical Disenfranchisement of Art Arthur Danto describes two dominant strains of the philosophy of art in its Platonic beginnings: one that art is dangerous, and thus subject to political censorship or control, and the other that art exists at several removes from the ordinary reality, impotent to effect any meaningful change in the human world.1 These two ways of understanding art, really two charges laid at art’s door, seem contradictory, he writes, until one realizes (...)
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  2. Jonathan Gilmore & Judith Surkis, Opinion.
    The recent arrest of Roman Polanski, the film director who fled to France from the United States in 1978 on the eve of sentencing for having unlawful sex with a 13-year-old girl, has caused an international ruckus. The French culture minister, Frédéric Mitterrand, and the French foreign minister, Bernard Kouchner, both issued statements of support for Mr. Polanski. But many others in France have expressed outrage at that support and said he should face justice for the crime.
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  3. Jonathan Gilmore (2014). That Obscure Object of Desire: Pleasure in Painful Art. In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
  4. Jonathan Gilmore (2013). Criticism. In Gaut and Lopes (ed.), Routledge Companion to Aesthetics. Routledge.
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  5. Jonathan Gilmore (2013). Grief and Belief. British Journal of Aesthetics 53 (1):103-107.
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  6. Jonathan Gilmore (2013). Normative and Scientific Approaches to the Understanding and Evaluation of Art. Behavioral and Brain Sciences 36 (02):144-145.
    The psycho-historical framework proposes that appreciators' responses to art vary as a function of their sensitivity to its historical dimensions. However, the explanatory power of that framework is limited insofar as it assimilates relevantly different kinds of appreciation and insofar as it eschews a normative account of when a response succeeds in qualifying as an appreciation of art qua art.
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  7. Jonathan Gilmore, Philosophy of Literature. Oxford Bibliographies Online.
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  8. Jonathan Gilmore (2011). A Functional View of Artistic Evaluation. Philosophical Studies 155 (2):289-305.
    I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (...)
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  9. Jonathan Gilmore (2011). Aptness of Emotions for Fictions and Imaginings. Pacific Philosophical Quarterly 92 (4):468-489.
    Many philosophical accounts of the emotions conceive of them as susceptible to assessments of rationality, fittingness, or some other notion of aptness. Analogous assumptions apply in cases of emotions directed at what are taken to be only fictional or only imagined. My question is whether the criteria governing the aptness of emotions we have toward what we take to be real things apply invariantly to those emotions we have toward what we take to be only fictional or imagined. I argue (...)
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  10. Jonathan Gilmore (2011). Ethics, Aesthetics, and Artistic Ends. Journal of Value Inquiry 45 (2):203-214.
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  11. Jonathan Gilmore (2011). Expression as Realization: Speakers' Interests in Freedom of Speech. [REVIEW] Law and Philosophy 30 (5):517-539.
  12. Jonathan Gilmore (2005). Symposium: Arthur Danto, the Abuse of Beauty. Inquiry 48 (2):145 – 154.
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  13. Jonathan Gilmore (2004). Between Philosophy and Art. In Taylor Carman (ed.), Cambridge Companion to Merleau Ponty. Cambridge University Press.
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  14. Jonathan Gilmore (2000). The Life of a Style: Beginnings and Endings in the Narrative History of Art. Cornell University Press.
    In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...
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  15. Jonathan Gilmore (1998). Pictorial Realism. In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. 4--109.
     
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  16. Jonathan Gilmore (1998). The Aesthete in the City. International Studies in Philosophy 30 (2):122-123.
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  17. Jonathan Gilmore (1995). David Carrier's Art History. Journal of Aesthetics and Art Criticism 53 (1):39-47.
    It is a commonplace now among art historians that to say, with Ruskin, that an artist had an "innocent eye" was to give the artist an empty compliment. It would have been to say that the artist possessed something no one could possess, and that, if we follow E. H. Gombrich, the artist was not part of the history of art. Gombrich's goal was to show that the history of art was constituted by artists "making and matching" as they saw (...)
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  18. Jonathan Gilmore (1995). Reply to Carrier. Journal of Aesthetics and Art Criticism 53 (4):429.
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