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Sarah E. Worth [18]Sarah Worth [6]Heather Worth [4]David Worth [2]
Herbert Worth [1]A. Human Worth [1]Melvin H. Worth Jr [1]Brian Worth [1]

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Profile: Rik Worth (University of Leeds)
  1. Christopher Crowley, Ross Watch & Brian Worth (forthcoming). Members Lunch 7 April 2006@ Sabayon Restaurant. Ethos.
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  2. Frances Taylor Gench, Herbert Worth & Annie H. Jackson (forthcoming). Guest Editorial. Interpretation 65 (3):227-227.
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  3. A. Human Worth, Dignity B. Publicity & D. Ultimate Accountability (forthcoming). Chapter Outline. Moral Management: Business Ethics.
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  4. Sarah E. Worth (forthcoming). Thomas Munro Vs. The All American Blue Dishwasher. Journal of Aesthetic Education.
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  5. Sarah E. Worth (forthcoming). Understanding the Objects of Music. Journal of Aesthetic Education.
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  6. Sarah Worth (2010). Shaped by Stories: The Ethical Power of Narratives by Gregory, Marshall. Journal of Aesthetics and Art Criticism 68 (4):427-428.
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  7. Sarah E. Worth (2010). Fact, Fiction, or Fraud; Faked Memoirs From Frey to Wilkomirski. Southwest Philosophy Review 26 (1):27-33.
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  8. Rachel Worth (2009). Some Issues in the Representation of Rural Working-Class Dress in British Nineteenth-Century Photography. Revue Belge de Philologie Et D'Histoire 87 (3):775-791.
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  9. Sarah E. Worth (2008). Storytelling and Narrative Knowing: An Examination of the Epistemic Benefits of Well-Told Stories. Journal of Aesthetic Education 42 (3):pp. 42-56.
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  10. Sarah Worth (2007). Review of William Irwin, Jorge J. E. Gracia (Eds.), Philosophy and the Interpretation of Pop Culture. [REVIEW] Notre Dame Philosophical Reviews 2007 (11).
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  11. Sarah E. Worth (2007). The Dangers of da Vinci, or the Power of Popular Fiction. Philosophy in the Contemporary World 14 (1):134-143.
    Philosophers of literature direct their studies to the moral, cognitive, and emotional aspects of our involvement with fiction. In spite of this, they rarely engage works of popular fiction. In this paper I use The Da Vinci Code as a case study of the impact of popular fiction on readers in terms of these three areas. Although this book will never be considered good literature, its impact is far reaching. l address concerns dealing with the fiction/non-fiction distinction as weIl as (...)
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  12. Heather Worth (2006). Unconditional Hospitality: Hiv, Ethics and the Refugee 'Problem'. Bioethics 20 (5):223–232.
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  13. Heather Worth, Maureen Molloy & Laurence Simmons (eds.) (2005). From Z to A: Žižek at the Antipodes. Dunmore Publishing.
  14. Sarah Worth (2005). Review of Alan Paskow, The Paradoxes of Art: A Phenomenological Investigation. [REVIEW] Notre Dame Philosophical Reviews 2005 (11).
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  15. Sarah E. Worth (2004). Fictional Spaces. Philosophical Forum 35 (4):439–455.
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  16. Sarah E. Worth (2004). Narrative Understanding and Understanding Narrative. Contemporary Aesthetics 2.
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  17. Sarah E. Worth (2004). The Aesthetics of Mimesis: Ancient Texts and Modern Problems Stephen Halliwell Princeton, NJ: Princeton University Press, 2002, Ix + 424 Pp., $24.95 Paper. [REVIEW] Dialogue 43 (01):194-.
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  18. Sarah E. Worth (2004). The Aesthetics of Mimesis Ancient Texts and Modern Problems. Dialogue 43 (1):194-194.
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  19. Sarah E. Worth (2004). The Ethics of Exhibitions: On the Presentation of Religious Art. Journal of Aesthetics and Art Criticism 62 (3):277–284.
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  20. Victoria Grace, Heather Worth & Laurence Simmons (eds.) (2003). Baudrillard West of the Dateline. Dunmore Press.
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  21. Karen McMillan & Heather Worth (2003). In Dreams: Baudrillard, Derrida and September 11. In Victoria Grace, Heather Worth & Laurence Simmons (eds.), Baudrillard West of the Dateline. Dunmore Press. 116--37.
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  22. Sarah E. Worth, Art and Epistemology. Internet Encyclopedia of Philosophy.
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  23. Robert L. Williams & Stephen L. Worth (2001). The Relationship of Critical Thinking to Success in College. Inquiry 21 (1):5-16.
    The definition, assessment, predictive validity, demographic correlates, and promotion of critical thinking at the college level are addressed in this article. Although the definitions of critical thinking vary substantially, a common theme is the linkage of conclusions to relevant evidence. Assessment measures range from quasi-standardized instruments to informal class assessment and include both generic and subject-specific formats. Although critical thinking potentially serves both as a predictor of college success and as a criterion of suceess, its greater utility may be as (...)
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  24. Sarah Worth (2001). Feminist Aesthetics. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge. 436--446.
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  25. Sarah E. Worth (2001). Jerrold Levinson, Aesthetics and Ethics: Essays at the Intersection. [REVIEW] Journal of Value Inquiry 35 (4):565-570.
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  26. Sarah E. Worth (2000). Aristotle, Thought, and Mimesis: Our Responses to Fiction. Journal of Aesthetics and Art Criticism 58 (4):333-339.
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  27. Sarah E. Worth (2000). Philosophy of Mass Art. Teaching Philosophy 23 (1):91-93.
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  28. Sarah Worth (1999). Alperson, Phil, Ed. Musical Worlds: New Directions in the Philosophy of Music. Review of Metaphysics 53 (2):425-426.
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  29. Sarah Worth (1999). The Aesthetics of Music. Review of Metaphysics 52 (4):981-983.
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  30. Sarah E. Worth (1998). The Interpretation of Music. Review of Metaphysics 51 (4):942-942.
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  31. Sarah E. Worth & Jennifer McMahon Railey (1998). Susan L. Feagin: Reading with Feeling: The Aesthetics of Appreciation. Journal of Value Inquiry 32 (4):579-581.
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  32. Sarah E. Worth & Jennifer McMahon Railey (1998). Susan L. Feagin: Reading with Feeling: The Aesthetics of Appreciation. [REVIEW] Journal of Value Inquiry 32 (4):579-581.
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  33. Sarah E. Worth (1997). Wittgenstein's Musical Understanding. British Journal of Aesthetics 37 (2):158-167.
  34. Louis B. Harrison, Melvin H. Worth Jr & M. A. Carlucci (1985). The Development of the Principles of Medical Malpractice in the United States. Perspectives in Biology and Medicine 29 (1):41.
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  35. Craig Dil Worth (1984). On Theoretical Terms. Erkenntnis 21 (3):405-421.
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  36. Sol Worth (1969). The Developement of a Semiotic of Film. Semiotica 1 (3).
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