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Kendall L. Walton [33]Kendall Lewis Walton [3]
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Profile: Kendall Walton (University of Michigan, Ann Arbor)
  1. 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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  2. Kendall L. Walton (1970). Categories of Art. Philosophical Review 79 (3):334-367.
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  3. Kendall L. Walton (1978). Fearing Fictions. Journal of Philosophy 75 (1):5-27.
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  4. Kendall L. Walton (1993). Metaphor and Prop Oriented Make-Believe. European Journal of Philosophy 1 (1):39--57.
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  5. 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). (...)
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  6. Kendall Lewis Walton (1994/2015). Morals in Fiction and Fictional Morality (I). Proceedings of the Aristotelian Society 68:27-50.
  7. 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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  8. Kendall L. Walton (1973). Pictures and Make-Believe. Philosophical Review 82 (3):283-319.
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  9.  29
    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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  10.  17
    Kendall L. Walton (2015). Meiosis, Hyperbole, Irony. Philosophical Studies:00-00.
    It is tempting to assume that understatement and overstatement, meiosis and hyperbole, are analogous figures of speech, differing only in whether the speaker represents a quantity as larger, or as smaller, than she means to claim that it is. But these tropes have hugely different roles in conversation. Understatement is akin to irony, perhaps a species of it. Overstatement is an entirely different kettle of fish. Things get interestingly messy when we notice that to overstate how large or expensive or (...)
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  11. 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.
  12. 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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  13. Kendall Lewis Walton (2006). On the (so-Called) Puzzle of Imaginative Resistance. In Shaun Nichols (ed.), The Architecture of the Imagination. Oxford University Press 137-148.
  14.  91
    Kendall L. Walton (2003). Restricted Quantification, Negative Existentials, and Fiction. Dialectica 57 (2):239–242.
    Realist theories about fictional entities must explain the fact that, in ordinary contexts people deny, apparently in all seriousness, that there are such things as the Big Bad Wolf and Santa Claus. The usual explanation treats these denials as involving restricted quantification: The speaker is said to be denying only that the Big Bad Wolf and Santa Claus are to be found among real or actual things, not that there are no such things at all. This is unconvincing. The denials (...)
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  15.  37
    Kendall L. Walton (1999). Projectivism, Empathy, and Musical Tension. Philosophical Topics 26 (1/2):407-440.
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  16.  48
    Kendall L. Walton (1974). Are Representations Symbols? The Monist 58 (2):236-254.
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  17.  77
    Kendall L. Walton (1973). Categories and Intentions: A Reply. Journal of Aesthetics and Art Criticism 32 (2):267-268.
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  18.  71
    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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  19.  69
    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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  20.  59
    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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  21.  65
    Kendall L. Walton (2015). "It's Only a Game!" Sports As Fiction. In In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press 75-83.
    Sports and competitive games of many kinds—from tag to chess to baseball—are often occasions for make-believe. To participate either as a competitor or as a spectator is frequently to engage in pretense. The activities of playing and watching games have this in common with appreciating works of fiction and participating in children’s make-believe activities, although the make-believe in sports, masked by real interests and concerns, is less obvious than it is in the other cases. What is most interesting about tag (...)
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  22.  6
    Kendall L. Walton (1973). The Possibility of Criticism. [REVIEW] Journal of Philosophy 70 (22):832-836.
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  23.  4
    Kendall L. Walton (1991). Reply to Reviewers. Philosophy and Phenomenological Research 51 (2):413 - 431.
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  24.  18
    Kendall L. Walton (2008). Fearing Fictionally. In Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates. Routledge 257.
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  25.  6
    Kendall L. Walton (1986). Looking Again Through Photographs: A Response to Edwin Martin. Critical Inquiry 12 (4):801-808.
    My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...)
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  26.  7
    Kendall L. Walton (1983). Works and Worlds of Arts by Nicholas Wolterstorff. Journal of Philosophy 80 (3):179-193.
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  27.  30
    Kendall L. Walton (1983). Fiction, Fiction-Making, and Styles of Fictionality. Philosophy and Literature 7 (1):78-88.
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  28.  27
    Kendall L. Walton (1973). Not a Leg to Stand on the Roof On. Journal of Philosophy 70 (19):725-726.
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  29. Kendall L. Walton (1984). Transparent Pictures: On the Nature of Photographic Realism. Critical Inquiry 11 (2):246-277.
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  30.  4
    Kendall L. Walton (1973). Linguistic Relativity. In Glenn Pearce & Patrick Maynard (eds.), Conceptual Change. Boston,D. Reidel 1--30.
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  31. Kendall Lewis Walton (1967). Conceptual Schemes: A Study of Linguistic Relativity and Related Philosophical Problems. Dissertation, Cornell University
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  32. 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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  33. Kendall L. Walton (2015). In Other Shoes: Music, Metaphor, Empathy, Existence. OUP Usa.
    In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts.
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  34. Kendall L. Walton (2015). In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press Usa.
    In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.
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  35. Kendall L. Walton (1995). Marie-Laure Ryan. Semiotica 103 (3/4):349-367.
     
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  36. Kendall L. Walton (2011). Pictures, Titles, Depictive Content. In Publications of the Austrian Ludwig Wittgenstein Society - N.S. 17. De Gruyter 395-408.
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