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Susan L. Feagin [36]Susan Feagin [10]Susan Louise Feagin [1]
  1.  127 DLs
    Susan L. Feagin (1983). The Pleasures of Tragedy. American Philosophical Quarterly 20 (1):95 - 104.
    I ARGUE THAT WE RECEIVE PLEASURE FROM TRAGEDIES BECAUSE WE ARE PLEASED TO FIND OURSELVES RESPONDING IN AN UNPLEASANT WAY TO HUMAN SUFFERING AND INJUSTICE. THE PLEASURE IS THUS A METARESPONSE, AND REFLECTS FEELINGS WHICH ARE AT THE BASIS OF MORALITY. THIS HELPS EXPLAIN WHY TRAGEDY IS SUPPOSED TO BE A HIGHER ART FORM THAN COMEDY, AND PROVIDES A NEW WAY OF SEEING THE RELATIONSHIP BETWEEN THE MORALITY OF AN ARTWORK AND ITS VALUE.
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  2.  79 DLs
    Susan L. Feagin & Noel Carroll (1992). Monsters, Disgust and Fascination. Philosophical Studies 65 (1-2):75 - 84.
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  3.  74 DLs
    Susan Feagin (2010). Giving Emotions Their Due. British Journal of Aesthetics 50 (1):89-92.
    It is a widespread view that affective and emotional responses to many works of literature are often components of an appreciation of literature that is richer than it would be without them. In this paper, I raise three points designed to show that Lamarque does not give emotional and other affective responses their due. First, I propose that he does not sufficiently distinguish emotion and imagination from concerns about knowledge and truth. Second, he does not sufficiently distinguish appreciation, and the (...)
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  4.  68 DLs
    Susan L. Feagin (1982). On Defining and Interpreting Art Intentionalistically. British Journal of Aesthetics 22 (1):65-77.
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  5.  63 DLs
    Susan L. Feagin (2007). On Noël Carroll on Narrative Closure. Philosophical Studies 135 (1):17 - 25.
    This paper examines various claims by Noël Carroll about narrative closure and its relationship to narrative connections, which are, roughly, causal connections generously conceived to include necessary conditions for sufficient conditions for an effect. I propose supplementing the expanded notion of a cause with Michael Bratman’s notion of a psychological connection to account for the particular role that human agents play in narratives. A novel and a film are used as examples to illustrate how the concept of a psychological connection (...)
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  6.  43 DLs
    Susan L. Feagin (1984). Some Pleasures of Imagination. Journal of Aesthetics and Art Criticism 43 (1):41-55.
  7.  38 DLs
    Susan L. Feagin (1997). Book Review: Reading with Feeling. [REVIEW] Philosophy and Literature 21 (1).
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  8.  31 DLs
    Susan L. Feagin (1998). Presentation and Representation. Journal of Aesthetics and Art Criticism 56 (3):234-240.
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  9.  29 DLs
    Susan L. Feagin (1988). Imagining Emotions and Appreciating Fiction. Canadian Journal of Philosophy 18 (3):485 - 500.
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  10.  28 DLs
    Susan L. Feagin (2010). Film Appreciation and Moral Insensitivity. Midwest Studies in Philosophy 34 (1):20-33.
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  11.  24 DLs
    Susan L. Feagin (1995). Paintings and Their Places. Australasian Journal of Philosophy 73 (2):260 – 268.
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  12.  24 DLs
    Susan L. Feagin (2007). Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art (Review). Philosophy and Literature 31 (2):420-422.
  13.  20 DLs
    Susan L. Feagin (2010). Beardsley for the Twenty-First Century. Journal of Aesthetic Education 44 (1):pp. 11-18.
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  14.  15 DLs
    Susan L. Feagin (1983). Mill and Edwards on the Higher Pleasures. Philosophy 58 (224):244 - 252.
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  15.  14 DLs
    Susan L. Feagin (1980). Motives and Literary Criticism. Philosophical Studies 38 (4):403 - 418.
    I argue that it is implausible to think that motives, As distinguished from intentions, Are relevant to literary criticism. The considerations leading to this conclusion offer some insights into the continuing debate over the relevance of artist's intentions to criticism. I also examine briefly why motives are not relevant to aesthetic judgments even though they are (plausibly) relevant to ethical ones. Some views of anscombe on intentions are discussed.
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  16.  13 DLs
    Susan L. Feagin (1982). Incompatible Interpretations of Art. Philosophy and Literature 6 (1-2):133-146.
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  17.  11 DLs
    Susan L. Feagin (2008). Critical Study: Reading and Performing. British Journal of Aesthetics 48 (1):89-97.
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  18.  9 DLs
    Susan L. Feagin (1983). On Fictional Entities. Philosophy and Literature 7 (2):240-243.
    This article critiques peter van inwagen's application of quinean ontology to the problem of whether fictional entities exist. It is argued that nothing is gained by considering fictional entities to be theoretical entities, And that van inwagen's claim that fictional entities 'hold' rather than 'have' certain properties does not avoid logical difficulties and is inconsistent with his commitment to quinean ontology.
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  19.  9 DLs
    Susan L. Feagin (2007). Introduction. Journal of Aesthetics and Art Criticism 65 (1):1–9.
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  20.  6 DLs
    Susan L. Feagin (1987). Pictorial Representation and the Act of Drawing. American Philosophical Quarterly 24 (2):161 - 170.
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  21.  6 DLs
    Susan L. Feagin (2014). Davies, Stephen. The Artful Species: Aesthetics, Art, and Evolution. Oxford University Press, 2012, 301 Pp., $45.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 72 (2):203-206.
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  22.  4 DLs
    Susan L. Feagin (forthcoming). Philosophy and Art Education. Journal of Aesthetic Education.
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  23.  2 DLs
    Susan L. Feagin (2011). Discovery Plots in Tragedy. In Noel Carroll & John Gibson (eds.), Narrative, Emotion, and Insight. Penn State University 154.
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  24.  2 DLs
    Susan L. Feagin (2008). For the Love of Beauty. The European Legacy 13 (7):867-869.
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  25.  1 DLs
    Susan L. Feagin (1988). Andrew Harrison, Ed., Philosophy and the Visual Arts: Seeing and Abstracting Reviewed By. Philosophy in Review 8 (8):304-306.
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  26.  1 DLs
    Susan L. Feagin (1987). John C. Gilmour, Picturing the World Reviewed By. Philosophy in Review 7 (1):16-19.
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  27.  1 DLs
    Susan L. Feagin (2009). Existentialism and Searching for an Exit. In Noël Carroll & Lester H. Hunt (eds.), Philosophy in the Twilight Zone. Wiley-Blackwell
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  28.  1 DLs
    Susan L. Feagin (1988). Marcia Eaton, Basic Issues in Aesthetics Reviewed By. Philosophy in Review 8 (11):444-448.
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  29.  0 DLs
    Susan Feagin (2004). Tragedy. In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell Pub.
     
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  30.  0 DLs
    Susan Feagin (1987). Thomas Puttfarken, Roger de Piles' Theory of Art. [REVIEW] Philosophy in Review 7:16-19.
     
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  31.  0 DLs
    Susan L. Feagin (2011). Empathizing as Simulating. In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press 149.
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  32.  0 DLs
    Susan L. Feagin (1987). Thomas Puttfarken, Roger de Piles' Theory of Art Reviewed By. Philosophy in Review 7 (1):16-19.
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  33.  0 DLs
    Susan Feagin (1999). Reading with Feeling: The Aesthetics of Appreciation. Journal of Aesthetics and Art Criticism 57 (1):67-71.
     
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  34.  0 DLs
    Susan Feagin (2005). La rappresentazione pittorica e la pittura come arte temporale. Discipline Filosofiche 15 (2).
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  35.  0 DLs
    Susan L. Feagin (1995). Sublime. In Audi Robert (ed.), The Cambridge Dictionary of Philosophy. Cambridge University Press 774.
     
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  36.  0 DLs
    Susan Feagin (1988). Marcia Eaton, Basic Issues in Aesthetics. [REVIEW] Philosophy in Review 8:444-448.
     
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  37.  0 DLs
    Peter Kivy, Noël Carroll, Susan L. Feagin, Donald Crawford, Richard Shusterman, Estelle R. Jorgensen, Haroldo Abraam Fontaine, Christopher Perricone, Michael Weh & Sk Wertz (2010). 1. Front Matter Front Matter (Pp. Iv). Journal of Aesthetic Education 44 (1).
     
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  38.  0 DLs
    Susan L. Feagin & Craig Allen Subler (1993). Showing Pictures: Aesthetics and the Art Gallery. Journal of Aesthetic Education 27 (3):63-72.
     
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  39.  0 DLs
    Susan L. Feagin (1988). Anne Sheppard, Aesthetics: An Introduction to the Philosophy of Art Reviewed By. Philosophy in Review 8 (11):444-448.
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  40.  0 DLs
    Susan L. Feagin & Patrick Maynard (eds.) (1997). Aesthetics. Oxford University Press.
    Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan Sontag. (...)
     
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  41.  0 DLs
    Susan Feagin (1988). Anne Sheppard, Aesthetics: An Introduction to the Philosophy of Art. [REVIEW] Philosophy in Review 8:444-448.
     
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  42.  0 DLs
    Susan Feagin (2005). Painting. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford
     
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  43.  0 DLs
    Susan L. Feagin (ed.) (2007). Global Theories of the Arts and Aesthetics. Blackwell.
    This collection of papers focuses on theories and practices in relation to the arts around the globe, in particular, those that have been ignored or marginalized by analytic or Anglo-American aesthetics and philosophy of art. The intention is to explain specific ways that the concepts of the aesthetic and of the arts might be enriched and enhanced. Indeed, in some cases the participation in artistic practices and the experience of art are deeply embedded in one’ s sense of self, in (...)
     
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  44.  0 DLs
    Susan Feagin (1987). John C. Gilmour, Picturing the World. [REVIEW] Philosophy in Review 7:16-19.
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  45.  0 DLs
    Iris Murdoch, Martha Nussbaum, Michael Norman & Susan L. Feagin (1998). Can We Learn From Art? In Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. Blackwell Publishers 178.
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  46.  0 DLs
    Susan Feagin (2009). Affects in Appreciation. In Peter Goldie (ed.), The Oxford Handbook of Philosophy of Emotion. OUP Oxford
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