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  1. Robert Stecker (forthcoming). Free Beauty, Dependent Beauty, and Art. Journal of Aesthetic Education.
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  2. Robert Stecker (2013). Testing Artistic Value: A Reply to Dodd. Journal of Aesthetics and Art Criticism 71 (3):288-289.
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  3. Robert Stecker (2012). Artistic Value Defended. Journal of Aesthetics and Art Criticism 70 (4):355-362.
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  4. Robert Stecker (2012). Epistemic Norms, Moral Norms, and Nature Appreciation. Environmental Ethics 34 (3):247-264.
    In environmental aesthetics a variety of proposals have been advanced about relevant norms that constrain appropriate aesthetic appreciation of nature. Some of these proposals are about cognitive or epistemic norms in that the authors claim that nature ought to be cognized in certain ways or that we ought to form certain beliefs about nature rather than others, and that when we do so, it will significantly constrain our aesthetic appreciation of nature. Another proposal is that moral norms rule out certain (...)
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  5. Robert Stecker (2012). Plato. In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. 8-20.
  6. R. Stecker (2011). Should We Still Care About the Paradox of Fiction? British Journal of Aesthetics 51 (3):295-308.
    The paradox of fiction presents an inconsistent triad of propositions, all of which are purported to be plausible or difficult to abandon. Here is an instance of the paradox: (1) Sally pities Anna (where Anna is the character Anna Karenina). (2) To pity someone, one must believe that they exist and are suffering. (3) Sally does not believe that Anna exists. Here is the problem. The paradox was formulated during the heyday of the cognitive theory of the emotions when there (...)
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  7. Robert Stecker (2011). Functional Beauty – Glen Parsons and Allen Carlson. Philosophical Quarterly 61 (243):439-442.
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  8. Robert Stecker (2011). Work and Object: Explorations in the Metaphysics of Art by Lamarque, Peter. Journal of Aesthetics and Art Criticism 69 (4):415-417.
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  9. R. Stecker & S. Davies (2010). The Hypothetical Intentionalist's Dilemma: A Reply to Levinson. British Journal of Aesthetics 50 (3):307-312.
    In a recent essay, Jerrold Levinson defends his version of hypothetical intentionalism (HI), which is a theory of literary interpretation, from two criticisms. The first, argued by Stephen Davies, is that it is equivalent to the value-maximizing view. The second, argued by Robert Stecker, is that there are straightforward counterexamples to HI. We will argue that Levinson does not successfully fend off either criticism, and further, that in the process of attempting to do so, creates another dilemma for his view.
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  10. Robert Stecker (2010). Ethics and Aesthetics. In John Skorupski (ed.), The Routledge Companion to Ethics. Routledge.
     
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  11. Robert Stecker (2010). Philosophy and Poetry: Midwest Studies in Philosophy Edited by French, Peter A., Howard K. Wettstein, and Ernie Lepore. Journal of Aesthetics and Art Criticism 68 (4):416-418.
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  12. Robert Stecker & Ted Gracyk (eds.) (2010). Aesthetics Today: A Reader. Rowman & Littlefield Publishers, Inc..
     
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  13. Robert Hopkins & Robert Stecker (2009). Davies, Stephen; Higgins, Kathleen Marie. British Journal of Aesthetics 49 (4):462.
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  14. Stuart Sim, Kathleen Marie Higgins, Robert Hopkins, Robert Stecker & David E. Cooper, Deconstruction.
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  15. Robert Stecker (2009). Methodological Questions About the Ontology of Music. Journal of Aesthetics and Art Criticism 67 (4):375 - 386.
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  16. Robert Stecker (2009). Review of Richard Shusterman, Adele Tomlin (Eds.), Aesthetic Experience. [REVIEW] Notre Dame Philosophical Reviews 2009 (4).
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  17. Robert Stecker (2008). Immoralism and the Anti-Theoretical View. British Journal of Aesthetics 48 (2):145-161.
    Can a moral defect be an artistic virtue? Can it make a positive contribution to artistic value? Further, if this can happen on occasion, does this imply that moral value has no systematic connection to artistic value since every conceivable relation between them is possible? The idea that moral defects can sometimes be artistic virtues has received a fair number of defenders recently and so has the anti-theoretical view that there is no systematic relation between artistic and moral value. But (...)
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  18. R. Stecker (2008). Aesthetics and Literature. British Journal of Aesthetics 48 (3):350-352.
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  19. Robert Stecker (2008). Art and Intention: A Philosophical Study. Philosophy and Phenomenological Research 76 (2):501–503.
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  20. Robert Stecker (2008). Art, Emotion and Ethics by Gaut, Berys. Journal of Aesthetics and Art Criticism 66 (2):199–201.
  21. Robert Stecker (2008). Review of Robert Kraut, Artworld Metaphysics. [REVIEW] Notre Dame Philosophical Reviews 2008 (5).
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  22. R. Stecker (2007). The Aesthetic Function of Art. Philosophical Review 116 (1):115-118.
    Introduces a more sophisticated functional definition of art Deals with some of the problems Beardsley had Old & New Aestheticism Aesthetic Communication notes on the Artworld Artistic value End of art?
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  23. R. Stecker (2006). Review: Arts and Minds. [REVIEW] Mind 115 (459):757-760.
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  24. Robert Stecker (2006). Aesthetic Experience and Aesthetic Value. Philosophy Compass 1 (1):1–10.
    What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.
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  25. Robert Stecker (2006). Carroll's Bones. British Journal of Aesthetics 46 (3):282-286.
    l Carroll has recently replied to criticisms of his views about moderate moralism and aesthetic experience. This paper responds to the replies directed at me. Regarding moderate moralism, I suggest that far from being a critic, my proposals should be seen as friendly clarifications of that view. Regarding aesthetic experience, there are sharp differences between us. Here I defuse new criticisms Carroll directs at my conception of such experience, and attempt to demonstrate the implausibility of Carroll's concept-oriented conception.
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  26. Robert A. Stecker (2006). Moderate Actual Intentionalism Defended. Journal of Aesthetics and Art Criticism 64 (4):429-438.
  27. R. Stecker (2005). Revealing Art. British Journal of Aesthetics 45 (4):441-443.
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  28. Reviews by Robert Stecker & John Dilworth (2005). David Davies, Art as Performance. Journal of Aesthetics and Art Criticism 63 (1):75–80.
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  29. Robert Stecker (2005). Aesthetics and the Philosophy of Art: An Introduction. Rowman & Littlefield Publishers.
    By taking a stand on each of the issues addressed and arguing for certain resolutions and against others, the text does not simply present a controversy in its current state of play, but instead helps to advance it toward a solution.
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  30. Robert Stecker (2005). The Interaction of Ethical and Aesthetic Value. British Journal of Aesthetics 45 (2):138-150.
    In many artworks, both aesthetic and ethical values are present, and both can contribute to the overall artistic value of a work. The question explored in this paper is: does the presence of one kind of value affect the degree of the other? For example, does a work that expresses a morally reprehensible attitude diminish the aesthetic value of a work? Let ‘interaction’ name the view that the presence of one kind of value affects the degree of the other. We (...)
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  31. Robert Stecker (2005). Value in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oup Oxford.
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  32. Robert Stecker (2004). Review of “Sovereign Virtue: The Theory and Practice of Equality,”. [REVIEW] Essays in Philosophy 5 (1):41.
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  33. Robert Stecker (2003). Definition of Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. 136--154.
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  34. Robert Stecker (2003). Interpretation and Construction: Art, Speech, and the Law. Blackwell.
    Interpreting the everyday -- Art interpretation : the central issues -- A theory of art interpretation : substantive claims -- A theory of art interpretation : conceptual and ontological claims -- Radical constructivism -- Moderate and historical constructivism -- Interpretation and construction in the law -- Relativism versus pluralism.
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  35. Robert Stecker (2003). The Ontology of Art Interpretation. In Stephen Davies & Ananta Charana Sukla (eds.), Art and Essence. Praeger. 177--191.
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  36. Robert Stecker (2003). 'Value in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. 307--324.
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  37. Robert Stecker (2002). Is the Constructivist's Dilemma Flawed? Reply to Percival. Journal of Aesthetics and Art Criticism 60 (1):81–82.
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  38. R. Stecker (2001). Only Jerome: A Reply to Noël Carroll. British Journal of Aesthetics 41 (1):76-80.
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  39. Robert Stecker (2001). Defending Historical Functionalism: A Reply to Stock. British Journal of Aesthetics 41 (3):328-332.
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  40. Robert Stecker (2001). Expressiveness and Expression in Music and Poetry. Journal of Aesthetics and Art Criticism 59 (1):85-96.
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  41. Robert Stecker (2001). Interpretation. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  42. Gary Fuller, Robert Stecker & John P. Wright (eds.) (2000). John Locke, an Essay Concerning Human Understanding in Focus. Routledge.
    John Locke's Essay Concerning Human Understanding is among the most important books in philosophy ever written. It is a difficult work dealing with many themes, including the origin of ideas; the extent and limits of human knowledge; the philosophy of perception; and religion and morality. This volume focuses on the last two topics and provides a clear and insightful survey of these overlooked aspects of Locke's best-known work. Four eminent Locke scholars present authoritative discussions of Locke's view on the ethics (...)
     
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  43. Max F. Adams, R. Stecker & G. Fuller (1999). Object Dependent Thoughts, Perspectival Thoughts, and Psychological Generalization. Dialectica 53 (1):47–59.
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  44. Robert Stecker (1999). Davies on the Musical Expression of Emotion. British Journal of Aesthetics 39 (3):273-281.
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  45. Robert A. Stecker, Max F. Adams & Gary Fuller (1999). Object Dependent Thoughts, Perspectival Thoughts, and Psychological Generalization. Dialectica 53 (1):47-59.
  46. Robert Stecker (1998). Dabney Townsend, Introduction to Aesthetics Reviewed By. Philosophy in Review 18 (5):381-383.
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  47. Robert Stecker (1998). Leddy on Stecker's Functionalism. Journal of Aesthetics and Art Criticism 56 (4):402-404.
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  48. Fred Adams, Gary Fuller & Robert Stecker (1997). The Semantics of Fictional Names. Pacific Philosophical Quarterly 78 (2):128–148.
    In this paper we defend a direct reference theory of names. We maintain that the meaning of a name is its bearer. In the case of vacuous names, there is no bearer and they have no meaning. We develop a unified theory of names such that one theory applies to names whether they occur within or outside fiction. Hence, we apply our theory to sentences containing names within fiction, sentences about fiction or sentences making comparisons across fictions. We then defend (...)
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  49. Robert Stecker (1997). The Correct and the Appropriate in the Appreciation of Nature. British Journal of Aesthetics 37 (4):393-402.
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  50. Robert Stecker (1997). The Constructivist's Dilemma. Journal of Aesthetics and Art Criticism 55 (1):43-52.
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