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Noël Carroll [169]Noel Edward Carroll [1]
  1.  59
    Noël Carroll (2015). Architecture and Ethics: Autonomy, Architecture, Art. Architecture Philosophy 1 (2):139-156.
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  2. Noel Carroll (1984). Hume's Standard of Taste. Journal of Aesthetics and Art Criticism 43 (2):181-194.
  3.  7
    Noël Carroll (2001). Beyond Aesthetics: Philosophical Essays. Cambridge University Press.
    Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with (...)
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  4. Cynthia A. Freeland, Thomas E. Wartenberg, Richard Allen, Murray Smith, Noël Carroll & Oxford Clarendon (1999). Is Analytic Philosophy the Cure for Film Theory? Philosophy of the Social Sciences 29 (3):416-440.
  5. Noël Carroll (2002). The Wheel of Virtue: Art, Literature, and Moral Knowledge. Journal of Aesthetics and Art Criticism 60 (1):3–26.
    In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.
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  6.  10
    Noël Carroll (2009). On Criticism. Routledge.
    Drawing on his knowledge of the worlds of art, criticism, and philosophy, Noèel Carroll argues that appraisal and evaluation of art are an indispensable part of the conversation of life.
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  7. Noël Carroll (2000). Art and Ethical Criticism: An Overview of Recent Directions of Research. Ethics 110 (2):350-387.
  8. Noel Carroll (1998). A Philosophy of Mass Art. Clarendon Press.
    Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.
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  9. Noël Carroll (1996). Moderate Moralism. British Journal of Aesthetics 36 (3):223-238.
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  10. Noël Carroll (2011). Martin Mcdonagh's the Pillowman , or the Justification of Literature. Philosophy and Literature 35 (1):168-181.
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  11.  36
    Noël Carroll (2008). The Philosophy of Motion Pictures. Blackwell Pub..
    _Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.
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  12. Noël Carroll (2008). Review: On the Aesthetic Function of Art. [REVIEW] Philosophical Quarterly 58 (233):732 - 740.
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  13. Noël Carroll (2007). Narrative Closure. Philosophical Studies 135 (1):1 - 15.
    In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.
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  14.  36
    Noël Carroll (2014). Ethics and Comic Amusement. British Journal of Aesthetics 54 (2):241-253.
    This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.
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  15.  97
    Noël Carroll (1996). Theorizing the Moving Image. Cambridge University Press.
    A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a (...)
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  16. Noël Carroll (1999). Philosophy of Art: A Contemporary Introduction. Routledge.
    Philosophy of Art is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It aims to introduce the techniques of analytic philosophy in addition to a selection of the major topics in this field of inquiry. These include the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art, as well as historical approaches to the nature of art. Throughout the book, abstract philosophical theories are illustrated by examples of both traditional (...)
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  17. Noël Carroll (1987). The Nature of Horror. Journal of Aesthetics and Art Criticism 46 (1):51-59.
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  18.  17
    Noël Carroll (2014). Humour: A Very Short Introduction. OUP Oxford.
    Humour is a universal feature of human life. In this Very Short Introduction Noel Carroll considers the nature and value of humour, from its leading theories and its relation to emotion and cognition, to ethical questions of its morality and its significance in shaping society.
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  19. Noël Carroll (1999). Horror and Humor. Journal of Aesthetics and Art Criticism 57 (2):145-160.
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  20. Noel Carroll (1998). Moderate Moralism Versus Moderate Autonomism. British Journal of Aesthetics 38 (4):419-424.
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  21.  27
    G. B. & Noel Carroll (1991). The Philosophy of Horror or Paradoxes of the Heart. Philosophical Quarterly 41 (165):519.
    Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure (...)
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  22. Noël Carroll (1993). Historical Narratives and the Philosophy of Art. Journal of Aesthetics and Art Criticism 51 (3):313-326.
  23.  83
    Noël Carroll (2012). Recent Approaches to Aesthetic Experience. Journal of Aesthetics and Art Criticism 70 (2):165-177.
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  24. Noël Carroll (1997). The Intentional Fallacy: Defending Myself. Journal of Aesthetics and Art Criticism 55 (3):305-309.
  25.  14
    Noël Carroll (1998). Art, Narrative, and Moral Understanding. In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. Cambridge University Press 126--60.
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  26.  18
    Noël Carroll (2015). Defending the Content Approach to Aesthetic Experience. Metaphilosophy 46 (2):171-188.
    This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.
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  27. Noël Carroll (2010). Art in Three Dimensions. Oxford University Press.
    Art in Three Dimensions is a collection of essays by one of the most eminent figures in philosophy of art.
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  28. Noël Carroll (2009). On the Necessity of Theater. Philosophy and Literature 33 (2):pp. 435-441.
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  29. Noël Carroll (2002). Aesthetic Experience Revisited. British Journal of Aesthetics 42 (2):145-168.
    In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.
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  30. Hugh LaFollette, Elijah Millgram, David McCabe, Richard J. Arneson & Noël Carroll (2000). 10. Charles W. Mills, Blackness Visible: Essays on Philosophy and Race Charles W. Mills, Blackness Visible: Essays on Philosophy and Race (Pp. 432-434). [REVIEW] Ethics 110 (2).
     
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  31.  29
    Noël Carroll (2003). Art and Mood. The Monist 86 (4):521-555.
  32. Noël Carroll (2010). At the Crossroads of Ethics and Aesthetics. Philosophy and Literature 34 (1):pp. 248-259.
    Art, Emotion, and Ethics is a brilliant book with many important, useful, insightful, and even profound things to say about a range of topics including the relation of the imagination to art, understanding, and ethics, and the paradox of fiction, as well as sensitive and in-depth interpretations of masterpieces by the likes of Rembrandt and Nabokov. It is very convincing in its jousts with autonomists for people like me who favor the view that sometimes ethical blemishes are aesthetic blemishes and (...)
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  33.  66
    Philip Alperson & Noël Carroll (2008). Music, Mind, and Morality: Arousing the Body Politic. Journal of Aesthetic Education 42 (1):1-15.
  34. Noël Carroll (1992). Art, Intention, and Conversation. In Gary Iseminger (ed.), Intention and Interpretation. Temple University Press 97--131.
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  35. Noël Carroll (1993). Anglo-American Aesthetics and Contemporary Criticism: Intention and the Hermeneutics of Suspicion. Journal of Aesthetics and Art Criticism 51 (2):245-252.
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  36.  80
    Noël Carroll (2004). Art and Human Nature. Journal of Aesthetics and Art Criticism 62 (2):95–107.
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  37.  75
    Noël Carroll (1991). On Jokes. Midwest Studies in Philosophy 16 (1):280-301.
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  38. Noël Carroll (2010). Movies, the Moral Emotions, and Sympathy. Midwest Studies in Philosophy 34 (1):1-19.
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  39. Noël Carroll (1995). Enjoying Horror Fictions: A Reply to Gaut. British Journal of Aesthetics 35 (1):67-72.
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  40.  86
    Susan L. Feagin & Noel Carroll (1992). Monsters, Disgust and Fascination. Philosophical Studies 65 (1-2):75 - 84.
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  41.  3
    Noel Carroll (ed.) (2000). Theories of Art Today. University of Wisconsin Press.
    What is art? The philosophers and historians contributing to this volume address the assertion that the term "art" no longer holds meaning.
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  42.  74
    Nöel Carroll (2012). Art in an Expanded Field: Wittgenstein and Aesthetics. Nordic Journal of Aesthetics 42 (42):14-31.
    This article reviews the various ways in which the later writings of Ludwig Wittgenstein have been employed to address the question “What is Art?”. These include the family resemblance model, the cluster concept model and the form of life model. The article defends a version of the form of life approach. Also, addressed the charge that it would have been more profitable had aestheticians explored what Wittgenstein actually said about art instead of trying to extrapolate from his writings an approach (...)
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  43. Noël Carroll & Jinhee Choi (eds.) (2005). Philosophy of Film and Motion Pictures: An Anthology. Wiley-Blackwell.
    Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear (...)
     
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  44.  85
    Noël Carroll (2006). Ethics and Aesthetics: Replies to Dickie, Stecker, and Livingston. British Journal of Aesthetics 46 (1):82-95.
    Both my deflationary approach to aesthetic experience and what I call moderate moralism have been challenged recently in the pages of the British Journal of Aesthetics by Paisley Livingston, Robert Stecker, and George Dickie. In this essay, I attempt to deal with their objections while also trying to move the debate to new ground.
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  45.  24
    Noël Carroll (1987). Can Government Funding of the Arts Be Justified Theoretically? Journal of Aesthetic Education 21 (1):21.
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  46.  70
    Noël Carroll (2011). History and the Philosophy of Art. Journal of the Philosophy of History 5 (3):370-382.
    In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.
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  47.  60
    Noel Carroll (1991). Review: On Kendall Walton's Mimesis as Make-Believe. [REVIEW] Philosophy and Phenomenological Research 51 (2):383 - 387.
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  48.  85
    Noël Carroll (1990). The Image of Women in Film: A Defense of a Paradigm. Journal of Aesthetics and Art Criticism 48 (4):349-360.
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  49.  98
    Noël Carroll (2007). Art and Globalization: Then and Now. Journal of Aesthetics and Art Criticism 65 (1):131–143.
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  50.  59
    Noël Carroll (2004). Non-Perceptual Aesthetic Properties: Comments for James Shelley. British Journal of Aesthetics 44 (4):413-423.
    James Shelley has raised the important question of whether it is possible to have aesthetic experiences of imperceptible artworks. This issue is important for determining whether or not the aesthetic theory of art can deal with certain cases of conceptual art. Shelley has argued that it is possible to have aesthetic experiences of imperceptibilia. And in this article, I concur with him, though for reasons different from his. Nevertheless, I go on to argue that this still fails to vindicate the (...)
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