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  1.  44
    The Nature of Art.A. L. Cothey - 1990 - Routledge.
    From Plato to Goodman, many philosophers have addressed problems in aesthetics and the philosophy of art. Nevertheless the central issues here have remained ill-defined. In this book, A. L. Cothey overcomes this difficulty by giving a systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day. In The Nature of Art , Cothey concludes that the best-known philosophical theories of art fail to satisfy either the pragmatic or the aesthetic criteria required to (...)
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    The Nature of Art.On Certainty.The Case for DualismThe Pursuit of Mind.Goals, No-Goals and Own GoalsTheory of Knowledge and Metamind.Conditionals. [REVIEW]G. G. L., A. L. Cothey, L. Wittgenstein, J. R. Smythies, J. Beloff, R. Tallis, H. Robinson, A. Montefiore, D. Noble, K. Lehrer & F. Jackson - 1992 - Philosophical Quarterly 42 (167):261.
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  3. Knowledge and Understanding Some Problems Concerning the Semantics of Natural Language.A. L. Cothey - 1977
     
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  4. The Nature of Art.A. L. Cothey - 2013 - Routledge.
    Although various aesthetic themes have preoccupied many major philosophers, from Plato to Goodman, the central questions of the philosophy of art have remained ill-defined. This book gives a concise and systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day, and goes on to propose a new theory of aesthetic satisfaction and artistic abilities.
     
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  5. The Nature of Art.A. L. Cothey - 2006 - Routledge.
    Although various aesthetic themes have preoccupied many major philosophers, from Plato to Goodman, the central questions of the philosophy of art have remained ill-defined. This book gives a concise and systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day, and goes on to propose a new theory of aesthetic satisfaction and artistic abilities.
     
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  6. The Nature of Art.A. L. Cothey - 1992 - Journal of Aesthetics and Art Criticism 50 (3):269-270.
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