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  1. Thomas Richards Vartan Adajian (1993). Imagination, Games, Pictures: A Critical Examination of Kendall Walton's "Mimesis as Make-Believe". Dissertation, The University of North Carolina at Chapel Hill
    I critically examine Kendall Walton's Mimesis as Make-Believe, a systematic attempt to model the activities of appreciators of works of art on children's games of make-believe. I argue that crucial features of the games Walton takes as paradigms infect and distort his application of the model to aesthetic questions. Walton's account of pictorial depiction and his extension of the basic game model to dreams and daydreams are argued to be unsuccessful.
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  2. Daniel Albright (1981). Representation and the Imagination: Beckett, Kafka, Nabokov, and Schoenberg. University of Chicago Press.
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  3. Jan Aler (1964). Schooling for Creativity. Journal of Aesthetics and Art Criticism 23 (1):81-95.
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  4. Christopher Alexander (1962). The Origin of Creative Power in Children. British Journal of Aesthetics 2 (3):207-226.
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  5. John Alford (1958). Creativity and Intelligibility in le Corbusier's Chapel at Ronchamp. Journal of Aesthetics and Art Criticism 16 (3):293-305.
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  6. Emmanuel Alloa (2010). Changer de sens. Quelques effets du tournant iconique. Critique 758 (8):647-658.
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  7. Peter Alward (2006). Leave Me Out of It: De Re, but Not de Se, Imaginative Engagement with Fiction. Journal of Aesthetics and Art Criticism 64 (4):451–459.
    I have been dissatisfied with Walton’s make-believe model of appreciator engagement with fiction ever since my first encounter with it as a graduate student.1 What I have always objected to is not the suggestion that such engagement is broadly speaking imaginative; rather, it is the suggestion that it specifically involves de se imaginative activity on the part of appreciators. That is, while I concede that appreciators imagine (de re) of the fictional works they experience that they are thus and so, (...)
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  8. Mark Amsler (1986). The Languages of Creativity Models, Problem-Solving, Discourse.
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  9. R. Arnheim (2001). What It Means to Be Creative. British Journal of Aesthetics 41 (1):24-25.
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  10. Karl Aschenbrenner (1963). Creative Receptivity. Journal of Aesthetics and Art Criticism 22 (2):149-151.
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  11. Gaston Bachelard (1994). The Poetics of Space. Beacon Press.
    The classic book on how we experience intimate spaces. "A magical book. . . . A prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced--and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." --from the foreword by John R. Stilgoe 6473-4 / $15.00tx / paperback.
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  12. G. Backhaus (2001). Tymieniecka’s Phenomenology of Life: The “Imaginatio Creatrix,” Subliminal Passions, and the Moral Sense. Consciousness and Emotion 2 (1):103-134.
    Anna-Teresa Tymieniecka expands the phenomenological study of meanings (sense-bestowal) into an onto-genetic inquiry by grounding it in a phenomenology of life, including the emotional dimension. This phenomenology of life is informed by the empirical sciences and its doctrines parallel the new scientific paradigm of open dynamic systems. Embedded in the dynamics of the real individuation of life forms, human consciousness emerges at a unique station in the evolutionary process. Tymieniecka treats the constitution of sense as a function of life, and (...)
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  13. Archie J. Bahm (1968). Creativity Through Interdependence. Pacific Philosophical Quarterly 49 (4):523.
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  14. Sharon Bailin (1983). On Creativity as Making: A Reply to Götz. Journal of Aesthetics and Art Criticism 41 (4):437-442.
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  15. Owen Barfield (2006). The Rediscovery of Meaning: And Other Essays. Barfield Press.
    The rediscovery of meaning -- Dream, myth, and philosophical double vision -- The meaning of 'literal' -- Poetic diction and legal fiction -- The harp and the camera -- Where is fancy bred? -- The rediscovery of allegory (I) -- The rediscovery of allegory (II) -- Imagination and inspiration -- Language and discovery -- Matter, imagination, and spirit -- Self and reality -- Science and quality -- The coming trauma of materialism -- Participation and isolation: a fresh light on present (...)
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  16. Giovanna Barlusconi (ed.) (2005). Immaginazione E Linguaggio Fra Teoria E Storia. Bulzoni.
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  17. Christian Barrère (2013). Heritage as a Basis for Creativity in Creative Industries: The Case of Taste Industries. Mind and Society 12 (1):167-176.
    The aim of this paper is to focus on the specificities of the creative processes in taste industries: industries that have connected the artistic and industrial dimensions to supply goods and services—demand for which derives not from the logic of needs and necessity, but from the logic of pleasures, tastes, ethic preferences and hedonism. These taste industries belong to the creative industries but, unlike scientific and technological production, they work not on the basis of cumulative knowledge but through the creation (...)
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  18. R. W. Beardsmore (1980). The Limits of Imagination. British Journal of Aesthetics 20 (2):99-114.
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  19. David Raymond Bell (2016). Learning, Play, and Creativity: Asobi, Suzuki Harunobu, and the Creative Practice. Journal of Aesthetic Education 50 (4):86-113.
    How was creativity understood in the distinctive artistic practices of eighteenth-century Japan? How were its artists able to maintain consistently inventive creative pathways over extended periods? Artistic creativity is sometimes assumed to derive from chance, opportune, or accidental events. For early Western creativity theorists like Graham Wallas,1 Alex Osborn,2 or Robert Fritz 3 such fortunate moments of illumination engendered creative innovation. The invention of synthetic dyes,4 Japanese haboku “splashed ink painting,” or Jackson Pollock’s spatters of paint all involved elements of (...)
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  20. Dina Zoe Belluigi (2011). Intentionality in a Creative Art Curriculum. Journal of Aesthetic Education 45 (1):18.
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  21. John Beloff (1970). Creative Thinking in Art and in Science. British Journal of Aesthetics 10 (1):58-70.
    Two questions are examined (a) the differences between creative and uncreative individuals and (b) the differences between artists and scientists. It is concluded that while divergent thinking is a necessary feature of the creative process alike in art and in science the scientific intellect exemplifies more the convergent type. Contrary to what most authorities have said it is here argued that creativity depends more upon the presence of a certain inborn flair than upon personality dynamics.
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  22. Jiri Benovsky (2016). Depiction and Imagination. SATS 17 (1):61-80.
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  23. Günter Berghaus (ed.) (2009). Futurism and the Technological Imagination. Rodopi.
    This volume, Futurism and the Technological Imagination, results from a conference of the International Society for the Study of European Ideas in Helsinki.
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  24. G. Berlucchi (1990). Creative Thinking, Scientific Creativity and Cognitive Science. Nuova Civiltà Delle Macchine 8 (4):166-174.
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  25. Rosemary Betterton (2006). Promising Monsters: Pregnant Bodies, Artistic Subjectivity, and Maternal Imagination. Hypatia 21 (1):80-100.
    : This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and "prosthetic" pregnancy, it asks whether the "monstrous" can offer different kinds of figurations of the maternal that acknowledge the agency and (...)
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  26. H. Gene Blocker (1972). Another Look at Aesthetic Imagination. Journal of Aesthetics and Art Criticism 30 (4):529-536.
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  27. Harry Blocker (1965). Kant's Theory of the Relation of Imagination and Understanding in Aesthetic Judgements of Taste. British Journal of Aesthetics 5 (1):37-45.
  28. David Bohm (1996). On Creativity. Routledge.
    Creativity is fundamental to human experience. In On Creativity David Bohm, the world-renowned scientist, investigates the phenomenon from all sides. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern.
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  29. Pascale Borrel & Sandrine Ferret (eds.) (2006). Après Coup, l'Invention de L'Origine: Création Et Temporalités. Lettre Volée.
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  30. Bijoy Hati Boruah (1984). Fictional Emotion, Belief and Imagination. Dissertation, University of Guelph (Canada)
    The upshot of this thesis is that our emotional response to fiction can be explained rationally and, therefore, that Radford's allegation that such responses are puzzling is false. To provide a rational explanation of an emotion proper is to show that there is a suitable belief which constitutes both the reason for and the cause of the emotion. Radford's allegation, that an emotional response to a fictional character is not founded on such a belief and hence occurs without any identifiable (...)
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  31. Elena Bougleux & Raffaella Trigona (eds.) (2009). Percorsi Creativi E Compresenze Immaginarie: Riflessioni Epistemologiche Ed Antropologiche Sulla Multidisciplinarietà. Guaraldi.
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  32. Emily Brady (2011). Adam Smith's ''Sympathetic Imagination'' and the Aesthetic Appreciation of Environment. Journal of Scottish Philosophy 9 (1):95-109.
    This paper explores the significance of Adam Smith's ideas for defending non-cognitivist theories of aesthetic appreciation of nature. Objections to non-cognitivism argue that the exercise of emotion and imagination in aesthetic judgement potentially sentimentalizes and trivializes nature. I argue that although directed at moral judgement, Smith's views also find a place in addressing this problem. First, sympathetic imagination may afford a deeper and more sensitive type of aesthetic engagement. Second, in taking up the position of the impartial spectator, aesthetic judgements (...)
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  33. Emily Brady (1998). Imagination and the Aesthetic Appreciation of Nature. Journal of Aesthetics and Art Criticism 56 (2):139-147.
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  34. Gregory Brazeal (2007). The Supreme Fiction: Fiction or Fact? Journal of Modern Literature 31 (1):80-100.
    The article makes a case for giving up the quest to identify Wallace Stevens’ “supreme fiction.” The poet hoped to usher in the creation of an idea that would serve as a fictive replacement for the idea of God, known to be fictive but willfully believed. His hope has remained unfulfilled. By the poet’s own explicit standards, the supreme fiction does not appear in any of his poems, nor in his poetry as a whole, nor in poetry in general. The (...)
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  35. L. Briskman (1981). Creative Product and Creative Process in Science and Art. In Denis Dutton & Michael Krausz (eds.), Inquiry. Kluwer Academic Publishers. pp. 83 – 106.
    The main aim of this essay is to propose and develop a product?oriented, non?psychologistic, approach to scientific and artistic creativity. I first argue that the central problem is that of answering the question: how is creativity possible? Traditional approaches to this question tend to locate creativity primarily in some special psychological processes or traits, or in some special creative act. Some general arguments against such an approach are developed, and it is suggested that creativity ought primarily to be located in (...)
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  36. Larry Briskman (1980). Creative Product and Creative Process in Science and Art. Inquiry 23 (1):83 – 106.
    The main aim of this essay is to propose and develop a product?oriented, non?psychologistic, approach to scientific and artistic creativity. I first argue that the central problem is that of answering the question: how is creativity possible? Traditional approaches to this question tend to locate creativity primarily in some special psychological processes or traits, or in some special creative act. Some general arguments against such an approach are developed, and it is suggested that creativity ought primarily to be located in (...)
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  37. Jerzy Brzeziânski, Francesco Coniglione & Tadeusz Marek (1992). Science Between Algorithm and Creativity.
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  38. Murray Wright Bundy (1927). The Theory of Imagination in Classical and Mediaeval Thought. R. West.
    Pre-Socratic philosophy. - Plato. - Aristotle. - Post-Aristotelian philosophy. - The Theory of art: Quintilian, Longinus, and Philostratus. - Plotinus. - The lesser Neoplatonists. - Neoplatonic views of three early Christians. - Mediaeval descriptive psychology. - The psychology of the mystics. - Dante's theory of vision. - Conclusion.
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  39. H. G. Callaway (2007). Emerson and Santayana on Imagination. In Flamm And Skowronski (ed.), Under Any Sky, Contemporary Readings on George Santayana.
    This paper examines Santayana on imagination, and related themes, chiefly as these are expressed in his early work, Interpretations of Poetry and Religion (1900). My hypothesis is that Santayana under-estimates, in this book, the force and significance of the prevalent distinction between imagination and fancy, as this was originally put forward by Coleridge and later developed in Emerson’s late essays. I will focus on some of those aspects of Santayana’s book which appear to react to or to engage with Emerson’s (...)
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  40. H. G. Callaway (2006). Emerson on Creativity in Thought and Action. In R.W. Emerson, The Conduct of Life: A Philosophical Reading.
    The opening essay of Emerson’s 1860 book, The Conduct of Life, posed, in that fateful year of threatening Civil War and disunion, the philosophical problem of human freedom and fate. The essay “Fate” is followed in the present book by a series of essays on related themes, including: “Power,” “Wealth,” “Culture,” “Worship,” “Beauty” and “Illusions.” The central question of the volume is, “How shall I live?” Appreciating both our freedom and its limits, we understand the vitality of power to acquire (...)
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  41. Elisabeth Camp (2009). Two Varieties of Literary Imagination: Metaphor, Fiction, and Thought Experiments. Midwest Studies in Philosophy 33 (1):107-130.
    Recently, philosophers have discovered that they have a lot to learn from, or at least to ponder about, fiction. Many metaphysicians are attracted to fiction as a model for our talk about purported objects and properties, such as numbers, morality, and possible worlds, without embracing a robust Platonist ontology. In addition, a growing group of philosophers of mind are interested in the implications of our engagement with fiction for our understanding of the mind and emotions: If I don’t believe that (...)
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  42. Howard Cannatella (2004). Embedding Creativity in Teaching and Learning. Journal of Aesthetic Education 38 (4):59-70.
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  43. J. J. Chambliss (1991). John Desey's Idea of Imagination in Philosophy and Education. Journal of Aesthetic Education 25:43-49.
    The aim is to show that, for Dewey, "imagination" is not a rare activity of the human spirit. Rather, it is common to all human beings as a vehicle of learning, by which possibilities are determined, and attempts are made to actualize them in experience. Imagination does not make up things "unreal", but is the power of realizing what is not present. Children's images tend to express themselves in action, and all human beings may bring to life an imageof self (...)
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  44. W. Charlton (1975). SCRUTON, ROGER "Art and Imagination". [REVIEW] Philosophy 50:367.
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  45. W. Charlton (1975). Art and Imagination By Roger Scruton Methuen, 1974, Viii + 256 Pp., £4.50. [REVIEW] Philosophy 50 (193):367-.
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  46. Jinhee Choi (2005). Leaving It Up to the Imagination: POV Shots and Imagining From the Inside. Journal of Aesthetics and Art Criticism 63 (1):17–25.
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  47. Elizabeth Christie (1979). Indian Philosophers on Poetic Imagination (Pratibhā). Journal of Indian Philosophy 7 (2):153-207.
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  48. Paula M. Cooey (1994). Religious Imagination and the Body: A Feminist Analysis. Oxford University Press.
    In recent years feminist scholarship has increasingly focused on the importance of the body and its representations in virtually every social, cultural, and intellectual context. Many have argued that because women are more closely identified with their bodies, they have access to privileged and different kinds of knowledge than men. In this landmark new book, Paula Cooey offers a different perspective on the significance of the body in the context of religious life and practice. Building on the pathbreaking work of (...)
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  49. Nicholas Cook (1990). Music, Imagination, and Culture. Oxford University Press.
    Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, Cook here defines the difference between music...
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  50. Brandon Cooke (2007). Imagining Art. British Journal of Aesthetics 47 (1):29-45.
    Aesthetic discourse is highly metaphorical, and many art-critical metaphors seem to be genuinely informative. Aesthetic property realism holds that the characteristic terms of aesthetic discourse pick out mind-independent properties. The prevalence of metaphor is a problem for realism, then, because most art-critical metaphors are true only when artworks are imagined in a certain way. Realist attempts to consign metaphor to the roles of filling lexical gaps or picking out mind-independent but ineffable properties fail. I argue that a cognitivist aesthetic anti-realism (...)
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