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Stephanie Ross [29]Stephanie A. Ross [7]
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  1.  51
    Stephanie Ross (2008). Humean Critics: Real or Ideal? British Journal of Aesthetics 48 (1):20-28.
    This paper attempts a rational reconstruction of the Humean notion of an ideal critic. Claiming that the traits of practice and comparison can only arise through the gradual accumulation of experience, I argue that Humean critics are real, not ideal. After discussing the nature of perfection and the relation of delicacy to the other Human traits, I propose two supplements to Hume's list: imaginative fluency and emotional responsiveness. I close by examining a trio of challenges to my view and supporting (...)
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  2. Stephanie Ross (1982). What Photographs Can't Do. Journal of Aesthetics and Art Criticism 41 (1):5-17.
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  3.  51
    Stephanie Ross (2011). Ideal Observer Theories in Aesthetics. Philosophy Compass 6 (8):513-522.
    I examine the prospects for an ideal observer theory in aesthetics modelled on Roderick Firth’s 1952 paper ‘Ethical Absolutism and the Ideal Observer’. The first generation of philosophers to consider an Ideal Aesthetic Observer found fault with Firth’s omniscience condition; more recent writers have criticized the affective component of an IAO’s response. In the end, most discussants reject the possibility of an IAO theory. Though the IAO theory gets the model wrong for answering meta‐aesthetic questions, revisiting the debate prompts useful (...)
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  4.  57
    Stephanie Ross (1985). Ut Hortus Poesis—Gardening and Her Sister Arts in Eighteenth-Century England. British Journal of Aesthetics 25 (1):17-32.
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  5.  39
    Stephanie A. Ross & Jennifer Judkins (1996). Conducting and Musical Interpretation. British Journal of Aesthetics 36 (1):16-29.
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  6.  5
    Stephanie Ross (1998). What Gardens Mean. University of Chicago Press.
    This examination of gardens--particulary English gardens of the eighteenth century--offers possible links between garden design and the arts.
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  7.  34
    Stephanie Ross (1987). The Picturesque: An Eighteenth-Century Debate. Journal of Aesthetics and Art Criticism 46 (2):271-279.
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  8.  8
    Stephanie Ross (2013). Context, Causality, and Appreciation. Behavioral and Brain Sciences 36 (2):155-156.
    I applaud and elaborate on the contextualism at the heart of Bullot & Reber's (B&R's) theory, challenge two aspects of the appreciative structure they posit (the causal reasoning that allegedly underlies the design stance and the segregation of the component stages), suggest that expert and novice appreciators operate differently, and question the degree to which B&R's final theory is open to empirical investigation.
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  9.  15
    Jenefer Robinson & Stephanie Ross (1990). Women, Morality, and Fiction. Hypatia 5 (2):76-90.
    We apply Carol Gilligan's distinction between a "male" mode of moral reasoning, focussed on justice, and a "female" mode, focussed on caring, to the reading of literature. Martha Nussbaum suggests that certain novels are works of moral philosophy. We argue that what Nussbaum sees as the special ethical contribution of such novels is in fact training in the stereotypically female mode of moral concern. We show this kind of training is appropriate to all readers of these novels, not just to (...)
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  10.  15
    Stephanie Ross (1974). Caricature. The Monist 58 (2):285-293.
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  11.  4
    Stephanie Ross (2008). Landscape Perception. Environmental Ethics 27 (3):245-263.
    Our primal ability to see one thing in terms of another shapes our landscape perception. Although modes of appreciation are tied to personal interests and situations, there are many lines of conflict and incompatibility between these modes. A religious point of view is unacceptable to those without religious beliefs. Background knowledge is similarly required for taking an arts or science-based view of landscape, although this knowledge can be acquired. How to cultivate responses grounded in imagination, emotion, and instinct is less (...)
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  12.  13
    Stephanie Ross (2005). Landscape Perception: Theory-Laden, Emotionally Resonant, Politically Correct. Environmental Ethics 27 (3):245-263.
    Our primal ability to see one thing in terms of another shapes our landscape perception. Although modes of appreciation are tied to personal interests and situations, there are many lines of conflict and incompatibility between these modes. A religious point of view is unacceptable to those without religious beliefs. Background knowledge is similarly required for taking an arts or science-based view of landscape, although this knowledge can be acquired. How to cultivate responses grounded in imagination, emotion, and instinct is less (...)
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  13. Stephanie Ross (1986). TJ Tiffey, Tolstoy's' What is Art?'Reviewed By'. Philosophy in Review 6 (4):144-146.
     
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  14.  20
    Deborah L. Holmes, Patricia A. Rupert, Stephanie A. Ross & Wendy E. Shapera (1999). Student Perceptions of Dual Relationships Between Faculty and Students. Ethics and Behavior 9 (2):79 – 107.
  15.  7
    Stephanie Ross (2012). Comparing and Sharing Taste: Reflections on Critical Advice. Journal of Aesthetics and Art Criticism 70 (4):363-371.
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  16.  3
    Stephanie A. Ross (1998). The Century of Taste. Philosophical Review 107 (3):459-461.
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  17.  4
    Stephanie Ross (2003). Style in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press 228.
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  18.  14
    Stephanie Ross (1981). Art and Allusion. Journal of Aesthetics and Art Criticism 40 (1):59-70.
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  19.  2
    Stephanie Ross (1984). Painting the Passions: Charles LeBrun's "Conférence Sur l'Expression". Journal of the History of Ideas 45 (1):25.
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  20.  13
    Stephanie A. Ross & Paul A. Roth (1982). Preface. Synthese 53 (2):157-158.
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  21.  4
    Stephanie Ross (1985). Chance, Constraint, and Creativity: The Awfulness of Modern Music. Journal of Aesthetic Education 19 (3):21.
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  22.  3
    Stephanie Ross (2006). Paradoxes and Puzzles: Appreciating Gardens and Urban Nature. Contemporary Aesthetics 4.
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  23.  7
    Stephanie Ross (1981). On Goodman's Query. Southern Journal of Philosophy 19 (3):375-387.
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  24.  6
    Stephanie Ross (2009). Review of Glenn Parsons, Allen Carlson, Functional Beauty. [REVIEW] Notre Dame Philosophical Reviews 2009 (7).
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  25.  5
    Stephanie Ross (2009). When Philosophers Want to Have It All: Comments on Ron Moore's Syncretic Theory of Natural Beauty. Ethics, Place and Environment 12 (3):343-349.
    Ronald Moore's new book Natural Beauty: A Theory of Aesthetics Beyond the Arts seeks to offer up an account of beauty in nature rather than the beauty of nature. Moore claims his is a syncretic theory. That is, it combines the best parts of competing theories into a single comprehensive account of, in this case, our judgments of natural beauty. The syncretic impulse is a common one in philosophy. Seeing many theories, each with some strong points yet none successful overall, (...)
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  26.  2
    Stephanie Ross (forthcoming). Gardens' Powers. Journal of Aesthetic Education.
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  27.  4
    Stephanie Ross (1989). Philosophy, Literature, and the Death of Art. Philosophical Papers 18 (1):95-115.
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  28. Stephanie Ross (1990). Anthony Savile, Aesthetic Reconstructions: The Seminal Writings of Lessing, Kant and Schiller Reviewed By. Philosophy in Review 10 (9):383-387.
     
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  29. Stephanie Ross (2014). Grant, James. The Critical Imagination. Oxford University Press, 2013, 192 Pp., $55.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 72 (4):453-456.
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  30. Stephanie Ross (1981). How Words Hurt: Attitude, Metaphor, and Oppression. In Mary Vetterling-Braggin (ed.), Sexist Language: A Modern Philosophical Analysis. Littlefield, Adams 194--213.
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  31. Stephanie A. Ross (1988). Michael Mitias, Ed., The Possibility of the Aesthetic Experience Reviewed By. Philosophy in Review 8 (1):27-29.
     
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  32. Stephanie Ross (1988). Michael Mitias, Ed., The Possibility of the Aesthetic Experience. [REVIEW] Philosophy in Review 8:27-29.
     
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  33. Stephanie Ross (1986). T. J. Tiffey, Tolstoy's 'What Is Art?'. [REVIEW] Philosophy in Review 6:144-146.
     
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  34. Stephanie Ross (2001). What Gardens Mean. University of Chicago Press.
    Are gardens works of art? What is involved in creating a garden? How are gardens experienced by those who stroll through them? In _What Gardens Mean,_ Stephanie Ross draws on philosophy as well as the histories of art, gardens, culture, and ideas to explore the magical lure of gardens. Paying special attention to the amazing landscape gardens of eighteenth-century England, she situates gardening among the other fine arts, documenting the complex messages gardens can convey and tracing various connections between gardens (...)
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