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  1. The Cognitive Value of Blade Runner.McGregor Rafe - 2015 - Aesthetic Investigations 1 (2).
    The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema. I introduce the cinematic philosophy debate in §1. §2 sets out my position: that the Final Cut affirms the proposition there is no necessary relation between humanity and human beings. I outline the combination of cinematic depiction with distinctive features of the narrative’s peripeteia in §3. In §4, I explain (...)
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  • Replies to Critics.Rafe McGregor - 2020 - Journal of Aesthetic Education 54 (4):62-75.
    I am both grateful and flattered that colleagues whom I hold in such high regard have taken the time to engage so closely and so thoughtfully with my work. I am particularly pleased that those colleagues have approached Narrative Justice from such distinct perspectives as the intellectual impulse behind its writing was to create a work that was genuinely interdisciplinary and whose insights, such as they are, could be applied to a range of issues across the humanities and social sciences. (...)
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  • Narrative Representation and Phenomenological Knowledge.Rafe McGregor - 2016 - Australasian Journal of Philosophy 94 (2):327-342.
    The purpose of this paper is to demonstrate that narrative representations can provide knowledge in virtue of their narrativity, regardless of their truth value. I set out the question in section 1, distinguishing narrative cognitivism from aesthetic cognitivism and narrative representations from non-narrative representations. Sections 2 and 3 argue that exemplary narratives can provide lucid phenomenological knowledge, which appears to meet both the epistemic and narrativity criteria for the narrative cognitivist thesis. In section 4, I turn to non-narrative representation, focusing (...)
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  • Forgetting Fatness: The Violent Co-optation of the Body Positivity Movement.Cheryl Frazier & Nadia Mehdi - 2021 - Debates in Aesthetics 16 (1):13-28.
    In this paper we track the ‘body positivity’ movement from its origins, promoting radical acceptance of marginalized bodies, to its co-optation as a push for self-love for all bodies, including those bodies belonging to socially dominant groups. We argue that the new focus on the ‘body positivity’ movement involves a single-minded emphasis on beauty and aesthetic adornment, and that this undermines the original focus of social and political equality, pandering instead to capitalism and failing to rectify unjust institutions and policies. (...)
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