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 (...) of the reprinted essays. (shrink)
Kendall's (1956) approach to the general epidemic is generalized by dropping the assumptions of constant infectivity and random recovery or death of ill individuals. A great deal of attention is paid to the biological background and the heuristics of the model formulation. Some new results are: (l) the derivation of Kermack's and McKendrick's integral equation from what seems to be the most general set of assumptions in section 2.2, (2) the use of Kermack's and McKendrick's final value equation to arrive (...) at a finite time version of the threshold theorem for the general case, comparable to that for the case of only one Markovian state of illness in section 2.5, (3) the analysis of the behaviour of the solutions of the integral equation when the starting infection approaches zero in section 2.7, (4) the derivation of the probability structure of a general branching process, after conditioning on extinction in section 3.6, (5) the statement of the generalized versions of Kendall's ideas in the form of precise limit conjectures in section 4, (6) the derivation of a closed expression for the limit epidemic resulting from (3) in appendix 4. (shrink)
Elisabeth Camp identifies me as “the primary proponent” of the “view that a single imaginative mechanism underwrites both metaphorical and fictional interpretation” (2009:110), “a view on which metaphorical interpretation calls for the same basic sort of pretense as we would engage in if confronted with the same sentence presented as a fiction” (109). She also implicates David Hills and unnamed others. She then demolishes a very implausible “pretense” account of metaphor, leaving entirely untouched the views that Hills and I actually (...) proposed. Examining Camp’s discussion, some of which Catherine Wearing echoes, gives me an opportunity to clarify our views, in case others might be tempted to construe them in the way Camp and Wearing do. (shrink)
Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...) Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)
