Search results for 'Kendall Lewis Walton' (try it on Scholar)

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  1. Trevor Bench-Capon, Michał Araszkiewicz, Kevin Ashley, Katie Atkinson, Floris Bex, Filipe Borges, Daniele Bourcier, Paul Bourgine, Jack G. Conrad, Enrico Francesconi, Thomas F. Gordon, Guido Governatori, Jochen L. Leidner, David D. Lewis, Ronald P. Loui, L. Thorne McCarty, Henry Prakken, Frank Schilder, Erich Schweighofer, Paul Thompson, Alex Tyrrell, Bart Verheij, Douglas N. Walton & Adam Z. Wyner (2012). A History of AI and Law in 50 Papers: 25 Years of the International Conference on AI and Law. [REVIEW] Artificial Intelligence and Law 20 (3):215-319.score: 2400.0
    We provide a retrospective of 25 years of the International Conference on AI and Law, which was first held in 1987. Fifty papers have been selected from the thirteen conferences and each of them is described in a short subsection individually written by one of the 24 authors. These subsections attempt to place the paper discussed in the context of the development of AI and Law, while often offering some personal reactions and reflections. As a whole, the subsections build into (...)
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  2. Edith A. Nutescu, Hayley Y. Park, Surrey M. Walton, Juan C. Blackburn, Jamie M. Finley, Richard K. Lewis & Glen T. Schumock (2005). Factors That Influence Prescribing Within a Therapeutic Drug Class. Journal of Evaluation in Clinical Practice 11 (4):357-365.score: 2400.0
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  3. Kendall L. Walton (2008). Marvelous Images: On Values and the Arts. Oxford University Press.score: 480.0
    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 (...)
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  4. Kendall L. Walton (1970). Categories of Art. Philosophical Review 79 (3):334-367.score: 240.0
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  5. Kendall L. Walton (1978). Fearing Fictions. Journal of Philosophy 75 (1):5-27.score: 240.0
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  6. Kendall Walton (1984). Transparent Pictures: On the Nature of Photographic Realism. Noûs 18 (1):67-72.score: 240.0
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  7. Kendall L. Walton (1990). Mimesis as Make-Believe: On the Foundations of the Representational Arts. Harvard University Press.score: 240.0
    Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
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  8. 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.score: 240.0
  9. Kendall L. Walton (1978). How Remote Are Fictional Worlds From the Real World? Journal of Aesthetics and Art Criticism 37 (1):11-23.score: 240.0
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  10. Kendall Walton (2007). Aesthetics—What? Why? And Wherefore? Journal of Aesthetics and Art Criticism 65 (2):147–161.score: 240.0
    It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.
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  11. Kendall L. Walton (1973). Pictures and Make-Believe. Philosophical Review 82 (3):283-319.score: 240.0
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  12. Kendall L. Walton, Metaphor, Fictionalism, Make-Believe: Response to Elisabeth Camp.score: 240.0
    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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  13. Kendall Walton (1994). Listening with Imagination: Is Music Representational? Journal of Aesthetics and Art Criticism 52 (1):47-61.score: 240.0
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  14. Kendall L. Walton (1993). Metaphor and Prop Oriented Make-Believe. European Journal of Philosophy 1 (1):39--57.score: 240.0
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  15. Kendall Walton (2002). Depiction, Perception, and Imagination: Responses to Richard Wollheim. Journal of Aesthetics and Art Criticism 60 (1):27–35.score: 240.0
  16. Kendall L. Walton (2003). Restricted Quantification, Negative Existentials, and Fiction. Dialectica 57 (2):239–242.score: 240.0
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  17. Kendall L. Walton (1993). How Marvelous! Toward a Theory of Aesthetic Value. Journal of Aesthetics and Art Criticism 51 (3):499-510.score: 240.0
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  18. Kendall L. Walton (1973). Categories and Intentions: A Reply. Journal of Aesthetics and Art Criticism 32 (2):267-268.score: 240.0
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  19. Kendall L. Walton (1988). What is Abstract About the Art of Music? Journal of Aesthetics and Art Criticism 46 (3):351-364.score: 240.0
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  20. Kendall L. Walton, Sports As Fiction.score: 240.0
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  21. Kendall L. Walton (1971). Languages of Art: An Emendation. Philosophical Studies 22 (5-6):82 - 85.score: 240.0
    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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  22. Kendall L. Walton (1976). Points of View in Narrative and Depictive Representation. Noûs 10 (1):49-61.score: 240.0
    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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  23. Kendall L. Walton (1974). Are Representations Symbols? The Monist 58 (2):236-254.score: 240.0
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  24. Kendall Walton (1963). The Dispensability of Perceptual Inferences. Mind 72 (July):357-368.score: 240.0
  25. Kendall Walton, Thoughtwriting—in Poetry and Music.score: 240.0
    But to return to myself, I was thinking about my book in more modest terms, and it would even be a mistake to say that I was thinking of those who would read it as my readers. For they were not, as I saw it, my readers, so much as readers of their own selves, my book being merely one of those magnifying glasses of the sort the optician at Combray used to offer his customers; my book, but a book (...)
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  26. Kendall L. Walton (1999). Projectivism, Empathy, and Musical Tension. Philosophical Topics 26 (1/2):407-440.score: 240.0
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  27. Kendall L. Walton (1973). Not a Leg to Stand on the Roof On. Journal of Philosophy 70 (19):725-726.score: 240.0
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  28. Kendall L. Walton (1983). Fiction, Fiction-Making, and Styles of Fictionality. Philosophy and Literature 7 (1):78-88.score: 240.0
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  29. Review author[S.]: Kendall L. Walton (1991). Reply to Reviewers. Philosophy and Phenomenological Research 51 (2):413-431.score: 240.0
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  30. 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.score: 240.0
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  31. Kendall L. Walton (1986). Looking Again Through Photographs: A Response to Edwin Martin. Critical Inquiry 12 (4):801.score: 240.0
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  32. Kendall Walton (2010). Apresentação e representação de padrões sonoros. Crítica.score: 240.0
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  33. Kendall L. Walton (2008). Fearing Fictionally. In Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates. Routledge. 257.score: 240.0
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  34. Kendall L. Walton (1973). Linguistic Relativity. In. In Glenn Pearce & Patrick Maynard (eds.), Conceptual Change. Boston,D. Reidel. 1--30.score: 240.0
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  35. Craig Walton (1999). David Lewis Schaefer, Ed., Freedom Over Servitude: Montaigne, La Bcetie, and On Voluntary Servitude Reviewed By. Philosophy in Review 19 (6):442-444.score: 240.0
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  36. Kendall L. Walton (2002). Empathy and Musical Tension1. In. In Dag Prawitz (ed.), Meaning and Interpretation: Conference Held in Stockholm, September 24-26, 1998. Kungl. Vitterhets, Historie Och Antikvitets Akademien. 55--43.score: 240.0
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  37. Kendall Walton (2005). Landscape and Still Life Representations of Static Scenes. Rivista di Estetica 45 (29):105-116.score: 240.0
     
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  38. Kendall L. Walton (1995). Marie-Laure Ryan. Semiotica 103 (3/4):349-367.score: 240.0
     
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  39. Kendall Walton (1997). On Pictures and Photographs: Objections Answered. In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press. 60--75.score: 240.0
     
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  40. Kendall L. Walton (1991). Reply to Reviewers. Philosophy and Phenomenological Research 51 (2):413 - 431.score: 240.0
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  41. Kendall Walton (1992). Seeing-In and Seeing Fictionally. In J. Hopkins & A. Savile (eds.), Psychoanalysis Mind and Art. Blackwell. 281--291.score: 240.0
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  42. Kendall Walton (1979). Style and the Processes of Art. In Leonard B. Meyer & Berel Lang (eds.), The Concept of Style. University of Pennsylvania Press. 72--103.score: 240.0
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  43. Kendall Walton (1979). Style and the Products and Processes of Art. In Leonard B. Meyer & Berel Lang (eds.), The Concept of Style. University of Pennsylvania Press. 45--66.score: 240.0
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  44. Kendall Walton (1988). The Presentation and Portrayal of Sound Patterns. In J. Dancy, J. M. E. Moravcsik & C. C. W. Taylor (eds.), Human Agency: Language, Duty, and Value. Stanford University Press. 237--57.score: 240.0
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  45. Andrew Kenneth Jorgensen (2010). The Sky Over Canberra: Folk Discourse and Serious Metaphysics. Philosophia 38 (2):365-383.score: 153.0
    I take up the task of examining how someone who takes seriously the ambitious programme of conceptual analysis advocated by the Canberra School can minimise the eliminative consequences which I argue the Ramsey-Carnap-Lewis recipe of conceptual analysis is likely to have for many folk discourses. The objective is to find a stable means to preserve the constative appearance of folk discourse and to find it generally successful in its attempts to describe an external world, albeit in non-scientific terms that (...)
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  46. Douglas Walton (2007). A Bibliography of Douglas Walton's Published Works, 1971-2007. Informal Logic 27 (1):135-147.score: 150.0
    A Bibliography of Douglas Walton’s Published Works, 1971-20.
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  47. David Lewis (1974). Spielman and Lewis on Inductive Immodesty. Philosophy of Science 41 (1):84-85.score: 120.0
  48. Paul Cartledge, W. M. Calder Iii, R. S. Smith, J. Vaio & George Cornewall Lewis (2003). Teaching the English Wissenschaft. The Letters of Sir George Cornewall Lewis to Karl Otfried MüllerTeaching the English Wissenschaft. The Letters of Sir George Cornewall Lewis to Karl Otfried Muller. Journal of Hellenic Studies 123:262.score: 120.0
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  49. D. M. Lewis (1973). Naphtali Lewis: Greek Historical Documents: The Fifth Century B.C. Pp. Xii+125. Toronto: Hakkert, 1971. Paper, $2.25. The Classical Review 23 (02):283-284.score: 120.0
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