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  1. added 2020-06-30
    Sobre una posible influencia del Quijote en el pensamiento de Hume.Mario Edmundo Chávez Tortolero - 2020 - Ciudad de México, CDMX, México: Universidad Nacional Autónoma de México / Itaca.
    A lo largo de este libro se ofrece una interpretación novedosa y sugerente del pensamiento de David Hume y del Quijote, leído y citado por aquél, siendo una obra muy influyente en la Inglaterra de su tiempo. El autor pretende mostrar que la influencia del Quijote en el pensamiento de Hume es posible, probable y plausible, para lo cual ofrece diversos argumentos. Desarrolla su interpretación mostrando que un fragmento extraído del Quijote es indispensable para la postulación del criterio del gusto (...)
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  2. added 2020-06-16
    Intentionality in a Creative Art Curriculum.Dina Zoe Belluigi - 2011 - Journal of Aesthetic Education 45 (1):18.
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  3. added 2020-06-16
    Collingwood, Imagination and Epistemology.William Desmond - 1975 - Philosophical Studies (Dublin) 24:82-103.
  4. added 2020-03-14
    The Poetic Apriori: Philosophical Imagination in a Meaningful Universe.Raymond Barfield - 2020 - Stuttgart, Germany: ibidem/Columbia University Press.
    Theories about the nature and function of philosophical imagination depend on our understanding of what kind of universe we inhabit. Some theories are compelling if the universe is meaningful as a whole, but they make no sense if it is not. Raymond C. Barfield discusses conditions that would be necessary if the universe is meaningful as a whole, and then develops a theory of philosophical imagination in light of that starting place. The theory moves toward the conclusion that if the (...)
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  5. added 2020-02-11
    Artistic Truth: Aesthetics, Discourse, and Imaginative Disclosure.B. E. Benson - 2007 - Philosophical Review 116 (1):118-121.
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  6. added 2020-02-11
    Imagination, Philosophy, and the Arts.Frederick Kroon - 2004 - Mind 113 (451):559-562.
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  7. added 2020-01-18
    Responses to Critics.Bence Nanay - 2019 - Estetika 56:118-124.
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  8. added 2020-01-18
    Responses to Critics.Bence Nanay - 2019 - Studi di Estetica 47:239-244.
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  9. added 2019-12-24
    One Imagination in Experiences of Beauty and Achievements of Understanding.Angela Breitenbach - 2020 - British Journal of Aesthetics 60 (1):71-88.
    I argue for the unity of imagination in two prima facie diverse contexts: experiences of beauty and achievements of understanding. I develop my argument in three steps. First, I begin by describing a type of aesthetic experience that is grounded in a set of imaginative activities on the part of the person having the experience. Second, I argue that the same set of imaginative activities that grounds this type of aesthetic experience also contributes to achievements of understanding. Third, I show (...)
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  10. added 2019-12-11
    Imagining in Response to Fiction: Unpacking the Infrastructure.Alon Chasid - 2019 - Philosophical Explorations 23 (1):31-48.
    Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive (...)
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  11. added 2019-11-01
    The Life of Imagination: Revealing and Making the World.Amy Kind - 2020 - British Journal of Aesthetics 60 (2):234-237.
    The Life of Imagination: Revealing and Making the WorldJennifer Anna Gosetti-Ferencei Columbia University Press. 2018. pp. 352. £50.
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  12. added 2019-09-28
    The Necessary Pain of Moral Imagination: Lonely Delegation in Richard Wright's White Man, Listen! And Haiku.Joshua M. Hall - 2018 - Evental Aesthetics 1 (7):63-89.
    Richard Wright gave a series of lectures in Europe from 1950 to 1956, collected in the following year in the volume, White Man, Listen! One dominant theme in all four essays is that expanding the moral imagination is centrally important in repairing our racism-benighted globe. What makes Wright’s version of this claim unique is his forthright admission that expanding the moral imagination necessarily involves pain and suffering. The best place to hear Wright in regard to the necessary pain of expanding (...)
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  13. added 2019-08-13
    Electromecánicas IV - Despliegue y activación de un espacio-tiempo barroco.Renzo Christian Filinich Orozco & Monica Salinero Rates - 2018 - Enclave Sonora Espacio, Editorial Sonec.
    En Electromecánicas IV, – Despliegue y activación de un espacio-tiempo barroco, Mónica Salinero socióloga y Renzo Filinich artista, se sumergen en el trabajo de análisis de la obra de Raúl Díaz, “Electromecánicas IV, poniendo en valor la diferencia conceptual y la diversidad del universo latinoamericano como espacio de creación situado. Inspirados en las teorías de Bolivar Echevarria, discuten la complejidad simbólica que rodea a esta experiencia estética, deteniéndose en los valores y funciones que se encuentran dentro del espectro cultural andino (...)
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  14. added 2019-08-06
    The Life of Imagination: Revealing and Making the World.Jennifer Anna Gosetti-Ferencei - 2018 - New York, NY, USA: Columbia University Press.
    Imagination allows us to step out of the ordinary but also to transform it through our sense of wonder and play, artistic inspiration and innovation, or the eureka moment of a scientific breakthrough. In this book, Jennifer Anna Gosetti-Ferencei offers a groundbreaking new understanding of its place in everyday experience as well as the heights of creative achievement. -/- The Life of Imagination delivers a new conception of imagination that places it at the heart of our engagement with the world—thinking, (...)
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  15. added 2019-06-28
    Depiction, Imagination, and Photography.Jiri Benovsky - forthcoming - In Keith Moser & Ananta Sukla (eds.), Imagination and Art: Explorations in Contemporary Theory. Brill.
    Imagination plays an important role in depiction. In this chapter, I focus on photography and I discuss the role imagination plays in photographic depiction. I suggest to follow a broadly Waltonian view, but I also depart from it in several places. I start by discussing a general feature of the relation of depiction, namely the fact that it is a ternary relation which always involves "something external." I then turn my attention to Walton's view, where this third relatum of the (...)
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  16. added 2019-06-21
    Ways of Imagining: A New Interpretation of Sartre’s Notion of Imagination.Lior Levy - 2019 - British Journal of Aesthetics 59 (2):129-146.
    In the conclusion to The Imaginary Jean-Paul Sartre draws attention to the centrality of imagination in human life, describing it as a constitutive structure of consciousness. Imagination, according to him, is not a contingent feature of consciousness, but one of its essential features. This essay re-examines Sartre’s notion of imagination, arguing that current interpretations do not exhaust its meaning. Beginning with a consideration of dichotomies that dominate his theory of imagination—such as those between present, material objects and absent images, or (...)
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  17. added 2019-06-06
    Snapshots of Childhood Creativity in Science, Music, and Art: Richard Feynman, Clara Schumann, and René Magritte. Spitz - 2013 - Journal of Aesthetic Education 47 (4):1.
    This essay is prompted, in part, by a spate of alarmist articles in the media over the past several years concerning what journalists have called "the creativity crisis,"2 articles claiming, in other words, that American creativity is in decline. A corresponding call has arisen to seek remedies and determine how creativity might be fostered in the lives of children so as to stem the tide of this (alleged) decline. While taking these dramatic concerns and pronouncements cum grano salis, this article (...)
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  18. added 2019-06-06
    Anti-Realism in R. G. Collingwood’s Theory of Art as Imagination.Timothy C. Lord - 2011 - Idealistic Studies 41 (1-2):45-54.
    Aaron Ridley has concluded that “Collingwood’s global Idealism is really only a distraction from the much more important and interesting ideas that constitute his aesthetics.” My paper takes issue with this conclusion. Collingwood’s idealism is an integral part of his aesthetics, and it simply cannot be shucked off, leaving his aesthetics untouched and intact. A careful reading of Collingwood’s oeuvre in aesthetics reveals that it is his long-standing antipathy to realism that grounds both his critique of pseudo-art and his own (...)
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  19. added 2019-06-06
    Landscape Perception: Theory-Laden, Emotionally Resonant, Politically Correct.Stephanie Ross - 2005 - 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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  20. added 2019-06-06
    Recreative Minds: Imagination in Philosophy and Psychology. [REVIEW]Peter Goldie - 2004 - Philosophy 79 (2):331-335.
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  21. added 2019-06-06
    Creative Performance in the Classroom.Robert L. Williams - 2002 - Inquiry: Critical Thinking Across the Disciplines 22 (1):7-20.
    The article describes practical and systematic procedures for assessing and promoting creativity in the classroom. Specifically, the article examines the possibility of operationally defining creativeperformance, assessing both the quantity and quality of creative responding, making the school environment more conducive to creative behavior, identifying instructional practices that promote creative performance, and strengthening creative behavior through appropriate consequences. the article concludes with the prospect of producing gains in creative behavior that generalize across time and tasks.
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  22. added 2019-06-06
    Metaphysics in Gaston Bachelard's “Reverie”.Caroline Joan {“Kay”) S. Picart - 1997 - Human Studies 20 (1):59-73.
    This paper aims to trace the evolution of Bachelard''s thought as he gropes toward a concrete formulation of a philosophy of the imagination. Reverie, the creative daydream, occupies the central position in Bachelard''s emerging metaphysic, which becomes increasingly phenomenological in a manner reminiscent of Husserl. This means that although Bachelard does not use Husserlian terms, he appropriates the following features of (Husserlian) phenomenology: 1. a desire to embracket the initial (rationalistic) impulse; and 2. an aspiration to apprehend in its entirety, (...)
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  23. added 2019-06-06
    Thelxis: Magic and Imagination in Greek Myth and Poetry. [REVIEW]Simon Goldhill - 1993 - The Classical Review 43 (2):443-444.
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  24. added 2019-06-06
    The Imaginative Landscape of Christopher Columbus.Valerie I. J. Flint.Scott D. Westrem - 1993 - Speculum 68 (3):764-768.
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  25. added 2019-06-06
    The Nature of Fiction.Gregory Currie - 1990 - Cambridge University Press.
    This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...)
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  26. added 2019-06-06
    Art as Imagination. The Development of R. G. Collingwood's Theory of Art.Edward Main - 1988 - Diálogos. Revista de Filosofía de la Universidad de Puerto Rico 23 (51):123-138.
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  27. added 2019-06-05
    The Routledge Handbook of the Philosophy of Imagination.Amy Kind (ed.) - 2016 - Routledge.
    Imagination occupies a central place in philosophy, going back to Aristotle. However, following a period of relative neglect there has been an explosion of interest in imagination in the past two decades as philosophers examine the role of imagination in debates about the mind and cognition, aesthetics and ethics, as well as epistemology, science and mathematics. This outstanding _Handbook_ contains over thirty specially commissioned chapters by leading philosophers organised into six clear sections examining the most important aspects of the philosophy (...)
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  28. added 2019-06-05
    Improvisational Teaching as Mode of Knowing. Shem-Tov - 2011 - Journal of Aesthetic Education 45 (3):103.
    Theatrical improvisation is a joyful, creative, and playful activity of discovery and a spontaneous process. It seems to be the opposite of teaching, which requires proper planning and advance thinking and seems a very “serious business” that deals with values and knowledge. Improvisation is shaped by flexibility and by transformative and equal relations among the participants. In contrast, there is in education usually a very clear hierarchy of teacher and pupils, and the relationships are mostly managed in a one-way direction. (...)
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  29. added 2019-06-05
    Canons and Consequences: Reflections on the Ethical Force of Imaginative IdealsPainterly Abstraction in Modernist American Poetry: The Contemporaneity of Modernism.David H. Fisher & Charles Altieri - 1992 - Journal of Aesthetics and Art Criticism 50 (2):165.
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  30. added 2019-06-05
    The Creative Process: A SymposiumThe Art of the ArtistModern Artists in America: First Series.H. H., Brewster Ghiselin, Arthur Zaidenberg, Robert Motherwell, Ad Reinhardt & Bernard Karpel - 1953 - Journal of Aesthetics and Art Criticism 11 (4):419.
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  31. added 2019-05-08
    Everything In Its Right Place: Foucault And The 'Ideology Of The Aesthetic’.Dominic Paterson - 2004 - Postgraduate Journal of Aesthetics 1 (3):111-123.
    There are several ways in which we 'rediscover' things. Sometimes rediscovering means finding something we had thought lost—to take a relevant example, let's say a painting that was stolen, or thought destroyed, that turns up in a dingy attic, from where it is rescued, and then authenticated, valued and preserved, finally restored to its rightful place. In such an instance, there will be a place waiting for the rediscovered painting from where it has been missing, and known to have been (...)
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  32. added 2019-05-06
    The Impact Of Aesthetic Imagination On Our Ethical Approach Towards Nature.Christian Denker - 2004 - Postgraduate Journal of Aesthetics 1 (2):51-58.
    Why is aesthetic experience of nature important in our everyday lives? This will be my main question. After defining the meaning of 'imagination' and 'aesthetic nature' in the context of Seel's thought, I will reflect on two aspects of this question. Firstly, I will focus on the function of imagination within our aesthetic experience of nature. Secondly, I will expose some ethical implications of the aesthetic approach to nature. My conclusion will emphasize the importance of aesthetic imagination for our personal (...)
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  33. added 2019-03-07
    Aphantasia and the Decacy of Mental Images.Steve Humbert-Droz - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. Londres, Royaume-Uni: Bloomsbury Academic. pp. 167-174.
    Testimonies about aphantasia are still surprisingly rare, more than a century after Galton. It is therefore difficult to understand how a person devoid of (a kind of) imagination actually thinks. In order to outline "what it is like" to be aphantasic, I will start by compiling two qualitative interviews with aphantasics that I will then compare with other testimonies collected in literature and online. The fact that aphantasia is poorly documented may also explain why few philosophers (with the notable exception (...)
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  34. added 2019-01-30
    The Critical Imagination, by James Grant: Oxford: Oxford University Press, 2013, Pp. Xii +192, £30.00. [REVIEW]Rafael De Clercq - 2014 - Australasian Journal of Philosophy 92 (1):208-209.
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  35. added 2019-01-30
    Creative Becoming and the Patiency of Matter: Feminism, New Materialism and Theology.Patrice Haynes - 2014 - Angelaki 19 (1):129-150.
    So-called ‘new materialism’ enables feminist theorists to emphasize the agential quality of matter, thereby challenging the notion that matter, particularly the biological body, is passive and inert – a notion that is gendered given the traditional association of passive matter with the feminine. While appreciating the materialist turn increasingly evident in feminist theory, Claire Colebrook warns feminist thinkers against an uncritical appeal to the vitalist tradition, which continues to privilege action, creativity and productivity over that materiality which remains unactualized potential. (...)
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  36. added 2018-12-30
    Imaginative Value Sensitive Design: Using Moral Imagination Theory to Inform Responsible Technology Design.Steven Umbrello - 2020 - Science and Engineering Ethics 26 (2):575-595.
    Safe-by-Design (SBD) frameworks for the development of emerging technologies have become an ever more popular means by which scholars argue that transformative emerging technologies can safely incorporate human values. One such popular SBD methodology is called Value Sensitive Design (VSD). A central tenet of this design methodology is to investigate stakeholder values and design those values into technologies during early stage research and development (R&D). To accomplish this, the VSD framework mandates that designers consult the philosophical and ethical literature to (...)
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  37. added 2018-12-03
    Niebo gwiaździste nad Królewcem a prawo moralne. Dyskusja Gadamera z estetyką Kanta wokół kwestii doświadczenia piękna i jego odniesienia do etyki.Paweł Dybel - 2018 - Diametros 55:112-131.
    In the article, I engage with H.G.Gadamer’s reading of Kant’s aesthetic theory. Gadamer accused Kant of subjectivizing the aesthetic experience so that it would be reduced to the free play of the cognitive faculties of the subject. Consequently, the ethical dimension of aesthetic experience that played such an important role in the preceding tradition of European humanism has been lost. Yet, this charge of Gadamer is not quite right. The connection between the experience of beauty and ethics has been maintained (...)
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  38. added 2018-10-23
    Imaginative Resistance and Variation.Eric Peterson - 2019 - British Journal of Aesthetics 59 (1):67-80.
    Imaginative resistance is roughly a phenomenon that is characterized by either an inability or an unwillingness to imagine some proposition. It has been noted that this phenomenon varies from person to person and from context to context. Most philosophers account for this variation by appealing to contextual factor. While such accounts make progress, I argue that the variation outruns the use of such a tactic. I propose a new account that can explain all of the variation.
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  39. added 2018-09-07
    Masks and Monsters: On the Transformative Power of Art.Marina Marren - 2018 - Pli: The Warwick Journal of Philosophy 29:102-112.
    Drawing on texts in psychology, philosophy, and literature the paper argues that art avails us of a distance from ourselves. Art has a potential to change our perspective on monstrosity and to make us question our moral categories and presuppositions. The study focuses on a single painting by Paul Gavarni, Two Pierrots Looking into a Box (1852), which I have discovered holds two images in one representation. I turn to Gavarni's work in order to prompt a literal gestalt shift in (...)
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  40. added 2018-09-06
    ‘It’s Just a Story’: Pornography, Desire, and the Ethics of Fictive Imagining.Christopher Bartel & Anna Cremaldi - 2018 - British Journal of Aesthetics 58 (1):37-50.
    Is it ever morally wrong for a consumer to imagine something immoral in a work of fiction, or for an author to prompt such imagining? Brandon Cooke has recently argued that it cannot be. On Cooke’s account, fictive imagining is immune to moral criticism because such cases of imagining do not amount to the endorsement of the immoral content, nor do they imply that the authors of such fictions necessarily endorse their contents. We argue against Cooke that in fact fictively (...)
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  41. added 2018-08-15
    Dialectic of Taste.David Michalski - 2015 - New York, NY, USA: Palgrave.
    The Dialectic of Taste examines the aesthetic economy in the context of economic crises. It explains how a new concern for aesthetics, seen in artisan markets, was born out of the ashes of McDonaldization to become a potent force today, capable of both regulating social identity and sparking social change.
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  42. added 2018-08-03
    On the Study of Imaginative Resistance.Andrea Sauchelli - 2019 - Analytic Philosophy 60 (2):164-178.
    I argue that the current methodology employed to study imaginative resistance should not be used to draw general conclusions about the influence of genre on episodes of imaginative resistance caused by complex works of art. One of the main problems is that the mini stories upon which the current methodology relies are inadequate—mostly because they are artless and ‘flat’. Mini stories cannot generate imaginative experiences structurally similar to the experiences elicited by complex and interesting works of fictional art.
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  43. added 2018-06-23
    Metaphor and Metamorphosis: Paul Ricoeur and Gilles Deleuze on the Emergence of Novelty.Martijn Boven - 2016 - Dissertation, University of Groningen
    This dissertation focuses on the problem of novelty as seen from the perspective of two French philosophers: Paul Ricoeur and Gilles Deleuze. As such, a new interpretation of the works of these two philosophers is developed. I argue that two models can be derived from their works: a model that strives to make tensions productive (based on Ricoeur) and a model that aims to organize encounters between bodies (taken from Deleuze). These models are developed on their own terms without superimposing (...)
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  44. added 2018-05-15
    Ethics and Fictive Imagining.Brandon Cooke - 2014 - Journal of Aesthetics and Art Criticism 72 (3):317-327.
    Sometimes it is wrong to imagine or take pleasure in imagining certain things, and likewise it is sometimes wrong to prompt these things. Some argue that certain fictive imaginings—imaginings of fictional states of affairs—are intrinsically wrong or that taking pleasure in certain fictive imaginings is wrong and so prompting either would also be wrong. These claims sometimes also serve as premises in arguments linking the ethical properties of a fiction to its artistic value. However, even if we grant that it (...)
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  45. added 2018-05-15
    Tragedy.G. Currie - 2010 - Analysis 70 (4):632-638.
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  46. added 2018-05-01
    Consciousness.Anezka Kuzmicova - forthcoming - In Leah Price & Matthew Rubery (eds.), Further Reading. New York: Oxford University Press.
    This chapter revisits three common ideas about how consciousness works when we read fiction. Firstly, I contest the notion that the reading consciousness is a container of sorts, containing a circumscribed amount of textual stimulus. Secondly, I argue against the view that readers abstract their personal concerns away in reading, and that they do so with benefit. Thirdly, I show how the reading consciousness encompasses rather than excludes the physical situation and environment of reading. For each idea revisited, I discuss (...)
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  47. added 2018-04-16
    The Art of Doing Mathematics.Christian Helmut Wenzel - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. Routledge. pp. 313-330.
    Mathematicians often say that their theorems, proofs, and theories can be beautiful. They say mathematics can be like art. They know how to move creatively and freely in their domains. But ordinary people usually cannot do this and do not share this view. They often have unpleasant memories from school and do not have this experience of freedom and creativity in doing mathematics. I myself have been a mathematician, and I wish to highlight some of the creative aspects in doing (...)
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  48. added 2018-03-20
    On Jane Forsey’s Critique of the Sublime.Jennifer A. McMahon - 2017 - In Lars Aagaard-Mogensen (ed.), The Possibility of the Sublime: Aesthetic Exchanges. Newcastle upon Tyne: Cambridge Scholars Publishing. pp. 81-91.
    The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...)
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  49. added 2018-03-04
    The Content-Dependence of Imaginative Resistance.Hanna Kim, Markus Kneer & Michael T. Stuart - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. London: Bloomsbury. pp. 143-166.
    An observation of Hume’s has received a lot of attention over the last decade and a half: Although we can standardly imagine the most implausible scenarios, we encounter resistance when imagining propositions at odds with established moral (or perhaps more generally evaluative) convictions. The literature is ripe with ‘solutions’ to this so-called ‘Puzzle of Imaginative Resistance’. Few, however, question the plausibility of the empirical assumption at the heart of the puzzle. In this paper, we explore empirically whether the difficulty we (...)
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  50. added 2018-02-17
    In Praise of Plato's Poetic Imagination.Sonja Tanner - 2010 - Lexington Books.
    This book examines the role Plato accords to imagination in the ancient quarrel between poetry and philosophy. Claiming that the function of imagination evokes a realm of praxis within Plato's dialogues heretofore largely unrecognized, this book offers an interpretation of Plato that challenges the more orthodox view in which poetry and the arts are denigrated, and indeed, seen as eradicable from the dialogues altogether.
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1 — 50 / 555