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Aaron Ridley
University of Southampton
  1. The Deed is Everything: Nietzsche on Will and Action.Aaron Ridley - 2018 - Oxford University Press.
    The Deed is Everything offers an engaging new interpretation of Nietzsche as committed to an 'expressivist' conception of agency. Aaron Ridley shows that Nietzsche develops highly distinctive accounts of freedom, morality, and selfhood, with a robust commitment to the value of human excellence in all of its forms.
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  2.  69
    The Philosophy of Music: Theme and Variations.Aaron Ridley - unknown
    Ridley's book is both an introduction to philosophy of music generally and an introduction to an individual, pungently flavoured philosophy of music. His arguments are lively and provocative, and to boot, he writes like a dream. This is the kind of book that reminds one why philosophy matters, especially as applied to the things we love most.-Jerrold Levinson, professor of philosophy, University of Maryland This outstanding book provides new and distinctive approaches to the five central topics of musical aesthetics: understanding, (...)
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  3.  36
    Nietzsche, Nature, Nurture.Aaron Ridley - 2017 - European Journal of Philosophy 25 (1):129-143.
    Nietzsche claims that we are fated to be as we are. He also claims, however, that we can create ourselves. To many commentators these twin commitments have seemed self-contradictory or paradoxical. The argument of this paper, by contrast, is that, despite appearances, there is no paradox here, nor even a tension between Nietzsche's two claims. Instead, when properly interpreted these claims turn out to be intimately related to one another, so that our fatedness emerges as integral to our capacity to (...)
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  4. Against Musical Ontology.Aaron Ridley - 2003 - Journal of Philosophy 100 (4):203 - 220.
  5.  74
    Nietzsche on Art and Freedom.Aaron Ridley - 2007 - European Journal of Philosophy 15 (2):204–224.
    There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...)
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  6.  68
    Nietzsche's Conscience: Six Character Studies From the 'Genealogy'.Aaron Ridley - 1998 - Cornell University Press.
    Aaron Ridley explores Nietzsche's mature ethical thought as expressed in his masterpiece On the Genealogy of Morals. Taking seriously the use that Nietzsche makes of human types, Ridley arranges his book thematically around the six characters who loom largest in that work—the slave, the priest, the philosopher, the artist, the scientist, and the noble. By elucidating what the Genealogy says about these figures, he achieves a persuasive new assessment of Nietzsche's ethics. Ridley's intellectually supple interpretation reveals Nietzsche's ethical position to (...)
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  7.  45
    Nietzsche's Intentions: What the Sovereign Individual Promises.Aaron Ridley - 2009 - In Ken Gemes & Simon May (eds.), Nietzsche on Freedom and Autonomy. Oxford University Press. pp. 181--196.
  8. Nietzsche's Conscience: Six Character Studies From the 'Genealogy'.Aaron Ridley - 2000 - Philosophical Quarterly 50 (200):398-401.
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  9. Tragedy.Aaron Ridley - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press.
     
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  10. Nietzsche.Ruben Berrios & Aaron Ridley - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  11. Nietzsche and the Re-Evaluation of Values.Aaron Ridley - 2005 - Proceedings of the Aristotelian Society 105 (2):155 - 175.
    This paper offers an account of Nietzsche's re-evaluation of values that seeks to satisfy two desiderata, both important if Nietzsche's project is to stand a chance of success. The first is that Nietzsche's re-evaluations must be capable of being understood as authoritative by those whose values are subject to re-evaluation. The second is that Nietzsche's project must not falsify the values being re-evaluated, by, for example, misrepresenting intrinsic values as instrumental values. Given this, five possible forms of re-evaluation are distinguished, (...)
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  12.  16
    Nietzsche on Tragedy: First and Last Thoughts.Aaron Ridley - 2019 - The Monist 102 (3):316-330.
    Nietzsche is often said to have started out as a Schopenhauerian metaphysician of some kind before leaving Schopenhauer behind him, and, by the end of his sane life, metaphysics too. His first and last thoughts about tragedy, however, sit uneasily with this narrative. The late thoughts are simply too close to the early ones for the story to accommodate them—not for their Schopenhauerianism, but for the strongly metaphysical flavour that they appear to share. The argument of the present paper is (...)
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  13. Musical Ontology, Musical Reasons.Aaron Ridley - 2012 - The Monist 95 (4):663-683.
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  14.  65
    Not Ideal: Collingwood's Expression Theory.Aaron Ridley - 1997 - Journal of Aesthetics and Art Criticism 55 (3):263-272.
  15. Nietzsche's on the Genealogy of Morals: Critical Essays.Keith Ansell Pearson, Babette Babich, Eric Blondel, Daniel Conway, Ken Gemes, Jürgen Habermas, Salim Kemal, Paul S. Loeb, Mark Migotti, Wolfgang Müller-Lauter, Alexander Nehamas, David Owen, Robert Pippin, Aaron Ridley, Gary Shapiro, Alan Schrift, Tracy Strong, Christine Swanton & Yirmiyahu Yovel - 2006 - Rowman & Littlefield Publishers.
    In this astonishingly rich volume, experts in ethics, epistemology, philosophy of mind, political theory, aesthetics, history, critical theory, and hermeneutics bring to light the best philosophical scholarship on what is arguably Nietzsche's most rewarding but most challenging text. Including essays that were commissioned specifically for the volume as well as essays revised and edited by their authors, this collection showcases definitive works that have shaped Nietzsche studies alongside new works of interest to students and experts alike. A lengthy introduction, annotated (...)
     
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  16.  54
    Why Ethics and Aesthetics Are Practically the Same.Aaron Ridley - forthcoming - Philosophical Quarterly:pqv069.
    Discussion of the relations between ethics and aesthetics has tended to focus on issues concerning judgement: for example, philosophers have often asked whether, or to what extent, ethical considerations of one sort or another should inform aesthetic verdicts. Much less discussed, however, have been the relations between these two domains in their practical aspects. In this paper, I try to defuse a cluster of reasons for believing that practical competence in the ethical domain and practical competence in the aesthetic domain (...)
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  17.  3
    R.G. Collingwood: A Philosophy of Art.Aaron Ridley (ed.) - 1998 - Phoenix.
    Many philosophers have been interested in aesthetics, but Collingwood was passionate about art. His theories were never merely theoretical: aesthetics for him was a vivid, vibrant thing, to be experienced immediately in worked paint and in sculptured stones, in poetry and music. Art and life were no dichotomy for Collingwood - for how could you have one without the other? Works of art were created in and for the real world, to be enjoyed by real people, to enchant to enhance. (...)
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  18. Emotion and Feeling.Geoffrey C. Madell & Aaron Ridley - 1997 - Proceedings of the Aristotelian Society, Supplementary Volumes( 71 (71):147-176.
  19.  57
    On Fate.David Owen & Aaron Ridley - 2003 - International Studies in Philosophy 35 (3):63-78.
  20.  73
    Nietzsche's Conscience.Aaron Ridley - 1996 - Journal of Nietzsche Studies 11:1-12.
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  21.  6
    Nietzsche on Art and Freedom.Aaron Ridley - 2007 - European Journal of Philosophy 15 (2):204-224.
    There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...)
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  22.  34
    Nietzsche and the Arts of Life.Aaron Ridley - 2013 - In Ken Gemes & John Richardson (eds.), The Oxford Handbook of Nietzsche. Oxford University Press.
    This article focuses on how aesthetic values permeate Nietzsche’s philosophy. Artistry is not confined to the creation of conventional works of art but occurs in the form-giving that is essential to all human forms of life. Since Nietzsche was committed to the view that the world is in some basic sense chaotic and meaningless, he held that only by imposing forms can we create a cognizable world. This close association between the conditions of life itself and the aesthetic activity of (...)
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  23.  53
    Emotion and Feeling: Aaron Ridley.Aaron Ridley - 1997 - Aristotelian Society Supplementary Volume 71 (1):163–176.
  24. Musical Sympathies: The Experience of Expressive Music.Aaron Ridley - 1995 - Journal of Aesthetics and Art Criticism 53 (1):49-57.
  25.  31
    Ill-Gotten Gains: On the Use of Results From Unethical Experiments in Medicine.Aaron Ridley - 1995 - Public Affairs Quarterly 9 (3):253-266.
  26.  8
    Emotion and Feeling: Aaron Ridley.Aaron Ridley - 1997 - Supplement to the Proceedings of the Aristotelian Society 71 (1):163-176.
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  27.  47
    Music, Value, and the Passions.Aaron Ridley - 1995 - Cornell University Press.
    For a century there has been a divergence between what music theorists say music is about and what the ordinary listener actually experiences. Music theory has insisted on a separation of musical experience from the experience of emotions, from the passions. Yet a passionate experience of music is just what most ordinary listeners have. Charting a new course through the minefield of contemporary philosophy of music, Aaron Ridley provides a coherent defense of the ordinary listener's beliefs. Focusing on instrumental music (...)
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  28. Arguing About Art (3rd Ed.).Aaron Ridley & Alex Neill (eds.) - 2007 - Routledge.
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  29.  14
    II–Aaron Ridley.Aaron Ridley - 1997 - Aristotelian Society Supplementary Volume 71 (1):163-176.
  30.  16
    Why Ethics and Aesthetics Are Practically the Same.Aaron Ridley - unknown
    Discussion of the relations between ethics and aesthetics has tended to focus on issues concerning judgement: for example, philosophers have often asked whether, or to what extent, ethical considerations of one sort or another should inform aesthetic verdicts. Much less discussed, however, have been the relations between these two domains in their practical aspects. In this paper, I try to defuse a cluster of reasons for believing that practical competence in the ethical domain and practical competence in the aesthetic domain (...)
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  31. Expression in Art.Aaron Ridley - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press.
     
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  32.  2
    Music, Value and the Passions.Aaron Ridley - 1997 - Philosophical Quarterly 47 (187):236-238.
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  33.  19
    On the Musically Possible.Aaron Ridley - 2014 - British Journal of Aesthetics 54 (1):1-14.
    It seems natural to suppose that Artur Schnabel’s occasionally inaccurate performance of Beethoven’s Hammerklavier would have been even better had it been accurate throughout. In the present paper I defend this supposition against a sceptical argument which purports to show that we have no good reason to believe it. The sceptical argument, which draws on some plausible-seeming thoughts about aesthetic properties, concludes that, because we cannot know whether this or that (as-yet-unachieved) musical result is so much as possible, we have (...)
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  34.  45
    Vi *-Nietzsche and the Re-Evaluation of Values.Aaron Ridley - 2005 - Proceedings of the Aristotelian Society 105 (1):155-175.
    This paper offers an account of Nietzsche's re-evaluation of values that seeks to satisfy two desiderata, both important if Nietzsche's project is to stand a chance of success. The first is that Nietzsche's re-evaluations must be capable of being understood as authoritative by those whose values are subject to re-evaluation. The second is that Nietzsche's project must not falsify the values being re-evaluated, by, for example, misrepresenting intrinsic values as instrumental values. Given this, five possible forms of re-evaluation are distinguished, (...)
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  35.  58
    The Philosophy of Medium-Grade Art.Aaron Ridley - 1996 - British Journal of Aesthetics 36 (4):413-413.
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  36.  13
    Routledge Philosophy Guidebook to Nietzsche on Art.Aaron Ridley - 2007 - Routledge.
    Nietzsche is one of the most important modern philosophers and his writings on the nature of art are amongst the most influential of the nineteenth and twentieth centuries. This_ GuideBook _introduces and assesses: Nietzsche's life and the background to his writings on art the ideas and texts of his works which contribute to art, including _The_ _Birth of Tragedy_, _Human, All Too Human_ and _Thus Spoke Zarathustra_ Nietzsche's continuing importance to philosophy and contemporary thought. This _GuideBook_ will be essential reading (...)
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  37. Guilt Before God, or God Before Guilt? The Second Essay of Nietzsche's Genealogy.Aaron Ridley - 2005 - Journal of Nietzsche Studies 29 (1):35-45.
  38.  1
    Nietzsche: The Anti-Christ, Ecce Homo, Twilight of the Idols: And Other Writings.Aaron Ridley & Judith Norman (eds.) - 2005 - Cambridge University Press.
    Nietzsche's late works are brilliant and uncompromising, and stand as monuments to his lucidity, rigour, and style. This volume combines, for the first time in English, five of these works: The Antichrist, Ecce Homo, Twilight of the Idols, Nietzsche contra Wagner, and The Case of Wagner. Here, Nietzsche takes on some of his greatest adversaries: traditional religion, contemporary culture, and above all his one-time hero, the composer Richard Wagner. His writing is simultaneously critical and creative, putting into practice his alternative (...)
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  39.  62
    Burning Passions.Alex Neill & Aaron Ridley - 1991 - Analysis 51 (2):106 - 108.
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  40.  50
    Tragedy and the Tender-Hearted.Aaron Ridley - 1993 - Philosophy and Literature 17 (2):234-245.
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  41.  49
    Nietzsche's Greatest Weight.Aaron Ridley - 1997 - Journal of Nietzsche Studies 14:19-25.
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  42.  52
    Bleeding Chunks: Some Remarks About Musical Understanding.Aaron Ridley - 1993 - Journal of Aesthetics and Art Criticism 51 (4):589-596.
  43.  43
    Mr Mew on Music.Aaron Ridley - 1986 - British Journal of Aesthetics 26 (1):69-70.
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  44.  26
    Congratulations, It's a Tragedy: Collingwood's Remarks on Genre.Aaron Ridley - 2002 - British Journal of Aesthetics 42 (1):52-63.
    This essay argues that R.G. Collingwood's remarks about genre are implausible, and that they stem, despite their apparent origin in his wider account of art, from his failure to take some of his own most important insights seriously enough. Some possible reasons for that failure are suggested; and it is shown that, once the relevant insights are given their proper weight, Collingwood's account commands the resources from which a plausible story about genre might have been constructed. To this extent, the (...)
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  45.  4
    Vi &Ast;—Nietzsche and the Re-Evaluation of Values.Aaron Ridley - 2005 - Proceedings of the Aristotelian Society 105 (2):171-191.
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  46.  7
    The Scope Argument, MICHAEL O'ROURKE.Against Musical Ontology & Aaron Ridley - 2003 - Journal of Philosophy 100 (3).
  47.  10
    Desire in the Experience of Fiction.Aaron Ridley - 1992 - Philosophy and Literature 16 (2):279-291.
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  48.  2
    The Philosophy Of Medium-Grade Art.Aaron Ridley - 1996 - British Journal of Aesthetics 36:413-423.
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  49. Nietzsche on Language: Before and After Wittgenstein.Maria Alvarez & Aaron Ridley - 2005 - Philosophical Topics 33 (2):1-17.
  50.  37
    Nietzsche on Language: Before and After Wittgenstein.Maria Alvarez & Aaron Ridley - 2005 - Philosophical Topics 33 (2):1-17.
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