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Mary Sirridge [24]Mary J. Sirridge [3]
  1. Mary Sirridge (2013). Supposition and the Fallacy of Figure of Speech in the Abstractiones. Vivarium 51 (1-4):147-168.
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  2. Mary J. Sirridge (2012). The Abstractiones: A Tradition in Evolution. Bulletin de Philosophie Médiévale 53:61 - 80.
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  3. Mary Sirridge (2009). Formalizing Medieval Logic: Suppositio, Consequentiae and Obligationes (Review). Journal of the History of Philosophy 47 (3):pp. 469-470.
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  4. Mary Sirridge (2009). The Treachery of the Commonplace. In Noël Carroll & Lester H. Hunt (eds.), Philosophy in the Twilight Zone. Wiley-Blackwell. 58--76.
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  5. Mary Sirridge (2007). “Utrum Idem Sint Dicere Et Intelligere Sive Videre in Mente”: Robert Kilwardby, Quaestiones in Librum Primum Sententiarum. Vivarium 45 (s 2-3):253-268.
    In his Questions I, qq. 35-36 Sent. Robert Kilwardby asks whether divine understanding (intelligere) is the same as the divine speaking (dicere), as Anselm says in Monologion, ch. 63, just as for us mental speaking (mentis locutio) is the same as the thinker's examination (inspectio cogitantis) or mental seeing (videre in mente). His answer is that neither for us nor for God is the equation correct, because understanding lacks an essential characteristic of speech, i.e. referentiality, and because speaking is active (...)
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  6. Mary Sirridge (2005). A. S. McGrade, Ed., The Cambridge Companion to Medieval Philosophy. Cambridge, Eng.: Cambridge University Press, 2003. Pp. Xviii, 405; 1 Black-and-White Figure and Tables. $60 (Cloth); $24 (Paper). [REVIEW] Speculum 80 (3):929-931.
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  7. Mary Sirridge (2005). Brill Online Books and Journals. Vivarium 43 (2).
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  8. Mary Sirridge (2005). Dream Bodies and Dream Pains in Augustine's "de Natura Et Origine Animae". Vivarium 43 (2):213-249.
    In his De Natura et Origine Animae, an answer to a work by Vincentius Victor, Augustine was drawn into attempting to answer some questions about what kind of reality dream-bodies, dream-worlds and dream-pains have. In this paper I concentrate on Augustine's attempts to show that none of Victor's arguments for the corporeality of the soul are any good, and that Victor's inflated claims about the extent of the soul's self-knowledge are the result of mistaking self-awareness for self-knowledge. Augustine takes the (...)
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  9. Mary Sirridge (2003). 6 Philosophy in Beauvoir's Fiction. In Claudia Card (ed.), The Cambridge Companion to Simone de Beauvoir. Cambridge University Press. 129.
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  10. Mary Sirridge (1992). John Magee, Boethius on Signification and Mind.(Philosophia Antiqua, 52.) Leiden: EJ Brill, 1989. Paper. Pp. Xiv, 165. Hfl 90. [REVIEW] Speculum 67 (3):716-718.
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  11. Mary Sirridge (1989). Francis Sparshott, Off the Ground: First Steps to a Philosophical Consideration of the Dance Reviewed By. Philosophy in Review 9 (5):206-208.
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  12. Mary Sirridge (1987). Donkeys, Stars, and Illocutionary Acts. Journal of Aesthetics and Art Criticism 45 (4):381-388.
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  13. Adina Armelagos & Mary Sirridge (1984). Personal Style and Performance Prerogatives. In Maxine Sheets-Johnstone (ed.), Illuminating Dance: Philosophical Explorations. 85--99.
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  14. Mary Sirridge (1983). Abstract of Comments: A Reply to Louise Mackey. Noûs 17 (1):34 -.
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  15. Mary Sirridge (1983). Metaphor. Teaching Philosophy 6 (1):48-52.
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  16. Mary Sirridge & Adina Armelagos (1983). The Role of "Natural Expressiveness" in Explaining Dance. Journal of Aesthetics and Art Criticism 41 (3):301-307.
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  17. Mary Sirridge (1980). The Moral of the Story: Exemplification and the Literary Work. Philosophical Studies 38 (4):391 - 402.
    So in literature we have two (perhaps identical) syntactically articulate vocabularies, the terms of each taking the terms of the other as referents, with both of the resultant systems — the one a system of denotation, the other of exemplification — being syntactically articulate and semantically dense. Thus, even though a literary work is articulate and may exemplify or express what is articulate, endless search is always required here as in other arts to determine precisely what is exemplified or expressed.
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  18. Adina Armelagos & Mary Sirridge (1978). The Identity Crisis in Dance. Journal of Aesthetics and Art Criticism 37 (2):129-139.
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  19. Mary Sirridge (1978). Buridan: ``Every Proposition is False'' is False. Notre Dame Journal of Formal Logic 19 (3):397-404.
  20. Mary Sirridge (1978). Artistic Intention and Critical Prerogative. British Journal of Aesthetics 18 (2):137-154.
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  21. Mary Sirridge (1978). Real and Imagined Worlds (Review). Philosophy and Literature 2 (1):124-125.
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  22. Mary Sirridge (1978). Paper Tigers: The Ideal Fictions of Jorge Luis Borges (Review). Philosophy and Literature 2 (2):275-276.
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  23. Mary Sirridge & Adina Armelagos (1977). The In's and Out's of Dance: Expression as an Aspect of Style. Journal of Aesthetics and Art Criticism 36 (1):15-24.
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  24. Mary Sirridge (1976). Augustine. New Scholasticism 50 (2):183-192.
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  25. Mary Sirridge (1975). J. R. Tolkien and Fairy Tale Truth. British Journal of Aesthetics 15 (1):81-92.
    Fantasy can thus be explained as a sudden glimpse of the underlying reality or truth. It is not only a consolation for the sorrow of this world, but an answer to that question, ‘Is it true?’ J. R. Tolkien.
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  26. Mary J. Sirridge (1975). St. Augustine and “The Deputy Theory”. Augustinian Studies 6:107-116.
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  27. Mary J. Sirridge (1974). William of Sherwood on Propositions and Their Parts. Notre Dame Journal of Formal Logic 15 (3):462-464.
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