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A. W. Eaton
University of Illinois, Chicago
  1.  72
    Artifacts and Their Functions.A. W. Eaton - 2020 - In Sarah Anne Carter & Ivan Gaskell (eds.), The Oxford Handbook of History and Material Culture. Oxford University Press.
    How do artifacts get their functions? It is typically thought that an artifact’s function depends on its maker’s intentions. This chapter argues that this common understanding is fatally flawed. Nor can artifact function be understood in terms of current uses or capacities. Instead, it proposes that we understand artifact function on the etiological model that Ruth Millikan and others have proposed for the biological realm. This model offers a robustly normative conception of function, but it does so naturalistically by employing (...)
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  2. Robust Immoralism.A. W. Eaton - 2012 - Journal of Aesthetics and Art Criticism 70 (3):281-292.
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  3. A Sensible Antiporn Feminism.A. W. Eaton - 2007 - Ethics 117 (4):674-715.
  4. Do Subaltern Artifacts Belong in Art Museums?Ivan Gaskell, A. W. Eaton, James O. Young & Conrad Brunk - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
     
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  5. Where Ethics and Aesthetics Meet: Titian's Rape of Europa.A. W. Eaton - 2003 - Hypatia 18 (4):159 - 188.
    Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.
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  6.  48
    Reply to Carroll: The Artistic Value of a Particular Kind of Moral Flaw.A. W. Eaton - 2013 - Journal of Aesthetics and Art Criticism 71 (4):376-380.
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  7. Feminist Philosophy of Art.A. W. Eaton - 2008 - Philosophy Compass 3 (5):873-893.
    This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.
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  8. A Reply to Critics.A. W. Eaton - 2008 - Symposia on Gender, Race, and Philosophy 4 (2):1--11.
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  9. Talk to Her.A. W. Eaton (ed.) - 2008 - Routledge.
    Pedro Almodóvar is one of the most renowned film directors of recent years. Talk to Her is one of the most discussed and controversial of all his films. Dealing principally with the issue of rape, it also offers profound insights into the nature of love and friendship whilst raising important philosophical and moral questions in unsettling and often paradoxical ways. This is the first book to explore and address the philosophical aspects of Almodóvar’s film. Opening with a helpful introduction by (...)
     
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  10.  28
    ‘A Lady on the Street but a Freak in the Bed’: On the Distinction Between Erotic Art and Pornography.A. W. Eaton - 2018 - British Journal of Aesthetics 58 (4):469-488.
    How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function (...)
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  11.  56
    Rough Heroes of the New Hollywood.A. W. Eaton - 2011 - Revue Internationale de Philosophie 258 (4):511-524.
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  12.  27
    Strange Tools Vs. Plain Tools?: Comments on Alva Noë.A. W. Eaton - 2017 - Philosophy and Phenomenological Research 94 (1):222-229.
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  13.  12
    Exploring Beauty and Truth in Worlds of Color: An Introduction to the JAAC Special Issue on Race and Aesthetics.Charles Peterson & A. W. Eaton - 2019 - Journal of Aesthetics and Art Criticism 77 (4):363-366.
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