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Kendall L. Walton [27]Kendall Lewis Walton [2]
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Profile: Kendall Walton (University of Michigan, Ann Arbor)
  1. Kendall L. Walton, Metaphor, Fictionalism, Make-Believe: Response to Elisabeth Camp.
    Prop oriented make-believe is make-believe utilized for the purpose of understanding what I call “props,” actual objects or states of affairs that make propositions “fictional,” true in the make-believe world. I, David Hills, and others have claimed that prop oriented make-believe lies at the heart of the functioning of many metaphors, and one variety of fictionalism in metaphysics invokes prop oriented make-believe to explain away apparent references to entities some find questionable or problematic (fictional characters, propositions, moral properties, numbers). Elisabeth (...)
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  2. Kendall L. Walton, Sports As Fiction.
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  3. Kendall L. Walton (2008). Fearing Fictionally. In Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates. Routledge. 257.
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  4. Kendall L. Walton (2008). Marvelous Images: On Values and the Arts. Oxford University Press.
    The twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic 'Categories of Art' is included, as is 'Transparent Pictures', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added to several (...)
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  5. Kendall L. Walton (2003). Restricted Quantification, Negative Existentials, and Fiction. Dialectica 57 (2):239–242.
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  6. Kendall L. Walton (2002). Empathy and Musical Tension1. In Dag Prawitz (ed.), Meaning and Interpretation: Conference Held in Stockholm, September 24-26, 1998. Kungl. Vitterhets, Historie Och Antikvitets Akademien. 55--43.
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  7. Kendall L. Walton (1999). Projectivism, Empathy, and Musical Tension. Philosophical Topics 26 (1/2):407-440.
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  8. Kendall L. Walton (1995). Marie-Laure Ryan. Semiotica 103 (3/4):349-367.
     
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  9. Kendall L. Walton (1993). Metaphor and Prop Oriented Make-Believe. European Journal of Philosophy 1 (1):39--57.
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  10. Kendall L. Walton (1993). How Marvelous! Toward a Theory of Aesthetic Value. Journal of Aesthetics and Art Criticism 51 (3):499-510.
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  11. Daniel Vanderveken & Kendall L. Walton (1991). J. Couture and J. Lambek,'Philosophical Reflections on the Foun-Dations of Mathematics', Erkenntnis 34 (1991) 187-209. In the Statement of “Giidel's Formula G is False in the Free Topos” on Page 201, Line 16 Fb, the Word “False” Should Be Replaced by “Not True”.(As the Internal Language of the Free Topos is Intuitionistic, This. [REVIEW] Erkenntnis 34:187-209.
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  12. Kendall L. Walton (1991). Précis of Mimesis as Make-Believe: On the Foundations of the Representational Arts. Philosophy and Phenomenological Research 51 (2):379-382.
  13. Kendall L. Walton (1991). Reply to Reviewers. Philosophy and Phenomenological Research 51 (2):413 - 431.
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  14. Kendall L. Walton (1990). Mimesis as Make-Believe: On the Foundations of the Representational Arts. Harvard University Press.
    Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
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  15. Kendall L. Walton (1988). What is Abstract About the Art of Music? Journal of Aesthetics and Art Criticism 46 (3):351-364.
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  16. Kendall L. Walton (1986). Looking Again Through Photographs: A Response to Edwin Martin. Critical Inquiry 12 (4):801.
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  17. Kendall L. Walton (1983). Fiction, Fiction-Making, and Styles of Fictionality. Philosophy and Literature 7 (1):78-88.
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  18. Kendall L. Walton (1978). Fearing Fictions. Journal of Philosophy 75 (1):5-27.
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  19. Kendall L. Walton (1978). How Remote Are Fictional Worlds From the Real World? Journal of Aesthetics and Art Criticism 37 (1):11-23.
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  20. Kendall L. Walton (1976). Points of View in Narrative and Depictive Representation. Noûs 10 (1):49-61.
    The reader's access to the fictional world of a novel is mediated by the narrator, when there is one; the fictional world is presented from the narrator's perspective. do depictions ever have anything comparable to narrators? apparent artists sometimes have a certain perspective on the fictional world. but they don't mediate our access to it; the fictional world is presented independently of their perspective on it. depictions do present fictional worlds from certain perspectives, but not usually the perspectives of any (...)
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  21. Kendall L. Walton (1974). Are Representations Symbols? The Monist 58 (2):236-254.
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  22. Kendall L. Walton (1973). Categories and Intentions: A Reply. Journal of Aesthetics and Art Criticism 32 (2):267-268.
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  23. Kendall L. Walton (1973). Linguistic Relativity. In Glenn Pearce & Patrick Maynard (eds.), Conceptual Change. Boston,D. Reidel. 1--30.
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  24. Kendall L. Walton (1973). Not a Leg to Stand on the Roof On. Journal of Philosophy 70 (19):725-726.
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  25. Kendall L. Walton (1973). Pictures and Make-Believe. Philosophical Review 82 (3):283-319.
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  26. Kendall L. Walton (1971). Languages of Art: An Emendation. Philosophical Studies 22 (5-6):82 - 85.
    In nelson goodman's "languages of art" a symbol system must be 'finitely differentiated', both syntactically and semantically, to count as a 'notation'. goodman's formulations of these differentiation requirements are seriously defective. it is shown that most of the examples of systems which he claims fail these requirements, do not fail them as they are stated. reformulations of the two requirements are offered, which accord with the examples and seem otherwise acceptable.
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  27. Kendall L. Walton (1970). Categories of Art. Philosophical Review 79 (3):334-367.
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