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  1. Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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  • Actualism and Possible Worlds.Alvin Plantinga - 1976 - Theoria 42 (1-3):139-160.
  • Do Possible Worlds Compromise God’s Beauty? A Reply to Mark Ian Thomas Robson.Jon Robson - 2012 - Religious Studies 48 (4):515 - 532.
    In a recent article Mark Ian Thomas Robson argues that there is a clear contradiction between the view that possible worlds are a part of God's nature and the theologically pivotal, but philosophically neglected, claim that God is perfectly beautiful. In this article I show that Robson's argument depends on several key assumptions that he fails to justify and as such that there is reason to doubt the soundness of his argument. I also demonstrate that if Robson's argument were sound (...)
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  • Possible Worlds.P. Forrest - 2004 - Mind 113 (449):171-174.
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  • No Bloodless Myth. A Guide Through Balthasars Dramatics.Aidan Nichols - 2000
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  • Possible Worlds and the Beauty of God.Mark Ian Thomas Robson - 2011 - Religious Studies 47 (4):479-492.
    In this paper I explore the relationship between the idea of possible worlds and the notion of the beauty of God. I argue that there is a clear contradiction between the idea that God is utterly and completely beautiful on the one hand and the notion that He contains within himself all possible worlds on the other. Since some of the possible worlds residing in the mind of the deity are ugly, their presence seems to compromise God's complete and utter (...)
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  • Ontology and Providence in Creation: Taking Ex Nihilo Seriously.I. T. Robson - 2010 - Ars Disputandi 10.
  • Monadology (1714).Gottfried Wilhelm Leibniz - unknown
    Copyright © 2010–2015 All rights reserved. Jonathan Bennett [Brackets] enclose editorial explanations. Small ·dots· enclose material that has been added, but can be read as though it were part of the original text. Occasional •bullets, and also indenting of passages that are not quotations, are meant as aids to grasping the structure of a sentence or a thought. Every four-point ellipsis . . . . indicates the omission of a brief passage that seems to present more difficulty than it is (...)
     
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