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  1. 'Metaphorically'.Ben Blumson - manuscript
    Not every metaphor can be literally paraphrased by a corresponding simile – the metaphorical meaning of ‘Juliet is the sun’, for example, is not the literal meaning of ‘Juliet is like the sun’. But every metaphor can be literally paraphrased, since if ‘metaphorically’ is prefixed to a metaphor, the result says literally what the metaphor says figuratively – the metaphorical meaning of ‘Juliet is the sun’, for example, is the literal meaning of ‘metaphorically, Juliet is the sun’.
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  2. Aesthetic Truth Through the Ages: A Lonerganian Theory of Art History.Ryan Miller - forthcoming - Proceedings of the American Catholic Philosophical Association 94 (2020).
    Classical authors were generally artistic realists. The predominant aesthetic theory was mimesis, which saw the truth of art as its successful representation of reality. High modernists rejected this aesthetic theory as lifeless, seeing the truth of art as its subjective expression. This impasse has serious consequences for both the Church and the public square. Moving forward requires both, first, an appreciation of the strengths and weaknesses of the high modernist critique of classical mimetic theory, and, second, a theory of truth (...)
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  3. Euclid's Error: The Mathematics Behind Foucault, Deleuze, and Nietzsche.Ilexa Yardley - 2021 - Intelligent Design Center.
    We have to go all the way back to Euclid, and, actually, before, to figure out the basis for representation, and therefore, interpretation. Which is, pure and simple, the conservation of a circle. As articulated by Foucault, Deleuze, and Nietzsche. 'Pi' (in mathematics) is the background state for everything (a.k.a. 'mind').Providing the explanation for (and the current popularity, and, thus, the 'genius' behind) NFT (non fungible tokens). 'Reality' has, finally, caught up with the 'truth.'.
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  4. Assemblage du paradigme proto-esthétique aux Amériques.Frédéric Lefrançois - 2020 - Recherches 1 (25):143-153.
    This paper focuses on the conception of an endogenous aesthetic matrix in the Caribbean and the Americas within a decolonial perspective.
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  5. The World and the Will: On the Problem of Photographic Agency.John Schwenkler - 2020 - Nonsite 32.
    This essay is my contribution to a symposium responding to several papers by Walter Benn Michaels that bring the work of Elizabeth Anscombe to bear on philosophical problems of artistic representation. In it, I take Benn Michaels's side in a dispute with Dominic McIver Lopes over the difference between Anscombe's view of intentional agency and that of Donald Davidson. I also critique Benn Michaels's reading of a difficult passage in section 29 of Anscombe's INTENTION, where she presents the famous case (...)
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  6. When Art Can’T Lie.Brandon Cooke - 2019 - British Journal of Aesthetics 59 (3):259-271.
    Pre-philosophically, an artwork can lie in virtue of some authorial intention that the audience comes to accept as true something that the author believes to be false. This thought forces a confrontation with the debate about the relation between the interpretation of a work and the intentions of its author. Anti-intentionalist theories of artwork meaning, which divorce work meaning from the actual author’s intentions, cannot license the judgment that an artwork lies. But if artwork lying is a genuine possibility, then (...)
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  7. Is There a Problem of Writing in Historiography? Plato and the Pharmakon of the Written Word.Natan Elgabsi - 2019 - Metodo. International Studies in Phenomenology and Philosophy 7 (2):225-264.
    This investigation concerns first what Jacques Derrida and Paul Ricœur consider to be «the question of writing» in Plato’s Phaedrus, and then whether their conception of a general philosophical problem of writing finds support in the dialogue. By contrast to their attempts to «determine» the «status» of writing as the general condition of knowledge, my investigation has two objections. (1) To show that Plato’s concern is not to define writing, but to reflect on what is involved in honest and dishonest (...)
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  8. Extreme Intentionalism Modestly Modified.Mitchell Green - 2019 - British Journal of Aesthetics 59 (2):197-201.
    1. On at least one usage of ‘mean’, performing an action that leads someone else to think that P, is not, on its own, sufficient for meaning that P. Nor is performing an action that is intended to get someone to think this. Instead one must make one’s intention overt. Grice’s way of developing this overtness requirement requires audience-directed intentions: for an agent, on this approach, to mean that P, she must perform a publicly accessible action with the intention of (...)
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  9. Imagination Minimalized.Amy Kind - 2019 - British Journal of Aesthetics 59 (2):215-218.
    In Only Imagine, Kathleen Stock defends a theory of fictional content she calls extreme intentionalism. Roughly put, this view holds that the fictional content of a text is determined solely by its author’s intention. What is true in a given work of fiction gets fixed by what the author of that fiction intends a reader to imagine.
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  10. Only Imagine? Not Necessarily.Ruth Lorand - 2019 - British Journal of Aesthetics 59 (2):211-214.
    In her recent book, Only Imagine, Kathleen Stock promotes extreme intentionalism with respect to fictional content. She writes, ‘the fictional content of a particular text is equivalent to exactly what the author of the text intended the reader to imagine’. There are at least three separate points here: the author’s intentions determine the fictional content; the fictional content is identical with the content of what the reader imagines; reading fiction necessarily entails imagining. The first two points are normative; they are (...)
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  11. Reply by Kathleen Stock.Kathleen Stock - 2019 - British Journal of Aesthetics 59 (2):219-225.
    I am extremely grateful to all commentators for such patient, generous, and stimulating contributions. What follows are some thoughts to enrich the conversation, but these are by no means intended to be definitive answers to the worries they have raised.
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  12. Hermeneutics.María G. Navarro - 2018 - The Wiley Blackwell Encyclopedia of Social Theory. Edited by Bryan S. Turner:1052-1055.
    The word έρμηνϵία (ermeneia) means expression and interpretation of a thought, from which the word “hermeneutics” comes. Some authors maintain that the name of the Greek god Hermes subsequently came from the same root. Hermes was the brother of Apollo and Athene and the son of Zeus and Maia, from which it could be deduced that he is paired by family lineage with images of light on the one hand and darkness and opacity on the other. Both metaphors remind us (...)
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  13. The End of The Road.Sean Allen-Hermanson - 2017 - European Journal of American Studies 12 (2).
    -/- The closing paragraph of Cormac McCarthy’s The Road hums with mystery. Some find it suggestive of renewal, though only vaguely. Others contend that it does little to ameliorate the novel’s pessimism. Still others find it offers both lamentation and hopefulness, while some pass it over in silence. As an admirer with a taste for puzzle solving, here I offer a new interpretation revealing a surprisingly optimistic denouement.
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  14. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  15. The Most Overrated Article of All Time?Joshua Landy - 2017 - Philosophy and Literature 41 (2):465-470.
    This year marks the fiftieth anniversary of an essay you have almost certainly read, if you took any class on literary theory in the intervening half-century. The essay in question is “The Death of the Author,” by a brilliant French thinker named Roland Barthes. Barthes had wonderfully illuminating things to say about the structure of narrative, realism, Proust, Racine, photography, and billboards. When he turned his thoughts to authorship, however, his touch temporarily deserted him, and the essay that resulted is (...)
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  16. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...)
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  17. Learning From Fiction and Theories of Fictional Content.Kathleen Stock - 2016 - Teorema: International Journal of Philosophy (3):69-83.
  18. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  19. Depiction and Intention.Ben Blumson - 2014 - In Resemblance and Representation. Open Book Publishers. pp. 51-66.
    This chapter defends intentionalism about pictorial representation.
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  20. Comics and Genre.Catharine Abell - 2012 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Blackwell. pp. 68--84.
    An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...)
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  21. The Conversation Argument for Actual Intentionalism.A. Huddleston - 2012 - British Journal of Aesthetics 52 (3):241-256.
    Proponents of actual intentionalism hold that an author’s actual intentions should constrain the proper interpretation of his or her works. If, for example, we have good reason to think Proust intends his character Marcel to set out to write a different novel from In Search of Lost Time itself, then that is how we should interpret the text. After decades of being denigrated as the ‘intentional fallacy’, actual intentionalism has enjoyed a renaissance in philosophical aesthetics in recent years, thanks in (...)
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  22. Distant Presence: Representation, Painting and Photography in Gerhard Richter’s Reader.Christian Lotz - 2012 - Painting and Photography in Gerhard Richter’s Reader,” Symposium. Canadian Journal for Continental Philosophy 16 (1):87-111.
    An essay concerning the representation of images in art, photography, and painting concerning analysis of Gerhard Richter's painting reader. It offers a debate that representation should be regarded as an act of formation and a performative concept. The author presents analysis of painting which leads the reader into the problem of painted images, such as the constitution of an image by a complex relationship among memory, reading, and blindness.
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  23. Towards Defending a Semantic Theory of Expression in Art: Revisiting Goodman.Servaas de V. van der Berg - 2012 - South African Journal of Philosophy 31 (3):600-612.
    Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in art. Moreover (...)
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  24. Review of Gregory Currie , Narratives and Narrators: A Philosophy of Stories. [REVIEW]Catharine Abell - 2011 - Philosophy in Review 31 (5):324-326.
  25. A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  26. The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
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  27. Beyond the Intentional Fallacy.Rachael Fernflores - 2010 - Literature & Aesthetics 20 (2):56-73.
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  28. Interpretation, Sincerity and "Theory".John Gibson - 2010 - Contemporary Aesthetics 8.
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  29. Defending Hypothetical Intentionalism.Jerrold Levinson - 2010 - British Journal of Aesthetics 50 (2):139-150.
    I here defend hypothetical intentionalism, the view of literary and cinematic interpretation that I endorse, from some recent criticisms, and then illustrate the appeal of the view in connection with a recent film of enigmatic cast.
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  30. Intention, Interpretation and Contemporary Visual Art.Hans Maes - 2010 - British Journal of Aesthetics 50 (2):121-138.
    The role of the artist's intention in the interpretation of art has been the topic of a lively and ongoing discussion in analytic aesthetics. First, I sketch the current state of this debate, focusing especially on two competing views: actual and hypothetical intentionalism. Secondly, I discuss the search for a suitable test case, that is, a work of art that is interpreted differently by actual and hypothetical intentionalists, with only one of these interpretations being plausible. Many examples from many different (...)
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  31. Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - 2010 - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  32. Knowledge, Language, and Interpretation: On the Philosophy of Donald Davidson.M. Cristina Amoretti & Nicla Vassallo (eds.) - 2008 - Ontos Verlag.
    Thanks to their heterogeneity, the nine essays in this volume offer a clear testimony of Donald Davidson's authority, and they undoubtedly show how much his work - even if it has raised many doubts and criticisms - has been, and still is, highly influential and significant in contemporary analytical philosophy for a wide range of subjects. Moreover, the various articles not only critically and carefully analyse Davidson's theses and arguments (in particular those concerning language and knowledge), but they also illustrate (...)
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  33. A Fallacy in the Intentional Fallacy.James Downey - 2007 - Philosophy and Literature 31 (1):149-152.
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  34. Review: Art and Intention: A Philosophical Study. [REVIEW]A. C. Ribeiro - 2007 - Mind 116 (462):453-459.
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  35. Realism and the Riddle of Style.Catharine Abell - 2006 - Contemporary Aesthetics 4.
    My concern in this paper is what, in Art and Illusion, Gombrich calls "the riddle of style". This is the problem of why people at different times and in different cultures have depicted objects in very different ways. An adequate solution to this problem will comprise an explanation of why depiction has a history. The problem seems intractable because of three common assumptions about the history of depiction that, while independently plausible, are inconsistent. First, we assume that this history is (...)
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  36. Humor, Context, and Divided Cognition.Lawrence Lengbeyer - 2005 - Social Theory and Practice 31 (3):309-36.
    Those who suggest that only a sexist (or racist, or anti-semite) can experience amusement at a sexist (or racist, or anti-semitic) joke have failed to grasp two underappreciated features of the psychology of humor: (1) that amusement is sensitive to what is conveyed to the audience by the contexts within which a joke is taken to be situated, and hence to pragmatic, and not merely semantic, factors; and (2) that, given the non-integrated nature of the ordinary human cognitive system, the (...)
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  37. Art and Intention: A Philosophical Study.Paisley Livingston - 2005 - Oxford University Press.
    In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...)
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  38. Medium, Subject Matter and Representation.John Dilworth - 2003 - Southern Journal of Philosophy 41 (1):45-62.
    I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, (...)
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  39. Pictorial Metaphors: A Reply to Sedivy.John Michael McGuire - 1999 - Metaphor and Symbol 14 (4):293-302.
    This article is concerned with the question of whether, and to what extent, the concept of metaphor properly applies to pictures (e.g., paintings or photographs). The question is approached dialectically through an examination of the views of Sonia Sedivy, who advances the following 4 claims: (a) that pictures possess propositional content, (b) that there are metaphoric pictures, (c) that metaphoric pictures do not possess metaphoric content, and (d) that there can be no theory of pictorial metaphor. Although the first of (...)
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  40. The Idea of the Postmodern. [REVIEW]Raymond Aaron Younis - 1998 - European Journal of Cultural Studies 1 (2):294-299.
  41. The Intentional Fallacy: Defending Myself.Noel Carroll - 1997 - Journal of Aesthetics and Art Criticism 55 (3):305-309.
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  42. The Intentional Fallacy: Defending Beardsley.George Dickie & W. Kent Wilson - 1995 - Journal of Aesthetics and Art Criticism 53 (3):233-250.
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  43. The Intentional Fallacy.Laurie Calhoun - 1994 - Philosophy and Literature 18 (2):337-338.
  44. Irony, Metaphor, and the Problem of Intention.Daniel Nathan - 1992 - In Gary Iseminger (ed.), Intention and Interpretation. Temple University Press. pp. 183--202.
    This essay considers the reliability and proper role of authorial intention in the interpretation of figurative language and argues that, even in cases of metaphor and irony, the meaning of a text must remain logically independent of the intent of its historical author. Irony and metaphor have been broadly considered to be the most problematic cases for the anti-intentionalist approach to interpretation. The arguments in this essay address standard intentionalist arguments and, in the end, defend a sort of hypothetical intentionalism (...)
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  45. Interpretation as Professional Practice. [REVIEW]Bernard S. Jackson - 1991 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 4 (1):99-107.
    This is a review article of Stanley Fish’s Doing What Comes Naturally: Change, Rhetoric, and the Practice of Theory in Literary & Legal Studies (1990).
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  46. Anything Goes: The Intentional Fallacy Revisited.Colin Lyas - 1983 - British Journal of Aesthetics 23 (4):291-305.
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  47. The Intentional Fallacy: An Applied Reappraisal.Carol Donnell-Kotrozo - 1980 - British Journal of Aesthetics 20 (4):356-365.
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  48. The Intentional Fallacy Revisited.Berel Lang - 1974 - British Journal of Aesthetics 14 (4):306-314.
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  49. Personal Qualities and the Intentional Fallacy.Colin Lyas - 1972 - Royal Institute of Philosophy Lectures 6:194-210.
    In their article ‘The Intentional Fallacy’, Beardsley and Wimsatt raised problems about the legitimacy of certain critical practices. These problems, raised again in later writings and intensively discussed in recent years, remain unsettled and this lecture is intended to throw light upon them.
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  50. The Scope of the Intentional Fallacy.Emilio Roma Iii - 1966 - The Monist 50 (2):250 - 266.
    One of the more controversial articles published in the philosophy of criticism during the past twenty-five years is “The Intentional Fallacy” by W. K. Wimsatt, Jr. and Monroe Beardsley. Scholars from a variety of disciplines have expended a lot of energy in attacking and defending the Wimsatt-Beardsley position. Their efforts fall mainly into two classes. Either they have been exploratory with respect to the nature of the concept ‘intention’, but so exploratory as to present no tangible discovery; or they have (...)
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