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Susan L. Feagin [36]Susan Louise Feagin [1]
  1. 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
    Susan L. Feagin & Noel Carroll (1992). Monsters, Disgust and Fascination. Philosophical Studies 65 (1-2):75 - 84.
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  3.  31
    Susan L. Feagin (1998). Presentation and Representation. Journal of Aesthetics and Art Criticism 56 (3):234-240.
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  4.  69
    Susan L. Feagin (1982). On Defining and Interpreting Art Intentionalistically. British Journal of Aesthetics 22 (1):65-77.
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  5.  63
    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
    Susan L. Feagin (1984). Some Pleasures of Imagination. Journal of Aesthetics and Art Criticism 43 (1):41-55.
  7.  29
    Susan L. Feagin (1988). Imagining Emotions and Appreciating Fiction. Canadian Journal of Philosophy 18 (3):485 - 500.
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  8.  38
    Susan L. Feagin (1997). Book Review: Reading with Feeling. [REVIEW] Philosophy and Literature 21 (1).
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  9.  6
    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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  10.  28
    Susan L. Feagin (2010). Film Appreciation and Moral Insensitivity. Midwest Studies in Philosophy 34 (1):20-33.
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  11.  24
    Susan L. Feagin (2007). Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art (Review). Philosophy and Literature 31 (2):420-422.
  12. 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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  13.  4
    Susan L. Feagin (forthcoming). Philosophy and Art Education. Journal of Aesthetic Education.
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  14.  24
    Susan L. Feagin (1995). Paintings and Their Places. Australasian Journal of Philosophy 73 (2):260 – 268.
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  15.  13
    Susan L. Feagin (1982). Incompatible Interpretations of Art. Philosophy and Literature 6 (1-2):133-146.
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  16.  20
    Susan L. Feagin (2010). Beardsley for the Twenty-First Century. Journal of Aesthetic Education 44 (1):pp. 11-18.
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  17.  15
    Susan L. Feagin (1983). Mill and Edwards on the Higher Pleasures. Philosophy 58 (224):244 - 252.
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  18.  9
    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.  14
    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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  20.  1
    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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  21.  11
    Susan L. Feagin (2008). Critical Study: Reading and Performing. British Journal of Aesthetics 48 (1):89-97.
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  22.  2
    Susan L. Feagin (1988). Marcia Eaton, Basic Issues in Aesthetics Reviewed By. Philosophy in Review 8 (11):444-448.
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  23.  2
    Susan L. Feagin (2008). For the Love of Beauty. The European Legacy 13 (7):867-869.
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  24.  2
    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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  25.  6
    Susan L. Feagin (1987). Pictorial Representation and the Act of Drawing. American Philosophical Quarterly 24 (2):161 - 170.
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  26.  9
    Susan L. Feagin (2007). Introduction. Journal of Aesthetics and Art Criticism 65 (1):1–9.
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  27.  1
    Susan L. Feagin (1987). John C. Gilmour, Picturing the World Reviewed By. Philosophy in Review 7 (1):16-19.
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  28.  1
    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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  29. 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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  30.  0
    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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  31.  0
    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. 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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  33. Susan L. Feagin (1995). Sublime. In Audi Robert (ed.), The Cambridge Dictionary of Philosophy. Cambridge University Press 774.
     
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  34.  0
    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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  35. 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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  36. 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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