80 found
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  1.  19
    The Deed is Everything: Nietzsche on Will and Action.Aaron Ridley - 2018 - Oxford, United Kingdom: 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.  93
    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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  3. The Philosophy of Music: Theme and Variations.Aaron Ridley - 2004 - Edinburgh University Press.
    New and distinctive approaches to five central topics in musical aesthetics are provided in this outstanding book. The topics are: understanding, representation, expression, performance and profundity.
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  4.  61
    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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  5. Against Musical Ontology.Aaron Ridley - 2003 - Journal of Philosophy 100 (4):203-220.
  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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  7. Nietzsche.Ruben Berrios & Aaron Ridley - 2000 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. New York: Routledge.
     
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  8. Nietzsche's Conscience: Six Character Studies from the 'Genealogy'.Aaron Ridley - 2000 - Philosophical Quarterly 50 (200):398-401.
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  9.  67
    Nietzsche and the Arts of Life.Aaron Ridley - 2013 - In Ken Gemes & John Richardson (eds.), The Oxford Handbook of Nietzsche. New York: 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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  10. Tragedy.Aaron Ridley - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press.
     
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  11.  58
    Nietzsche's intentions: what the sovereign individual promises.Aaron Ridley - 2009 - In Ken Gemes & Simon May (eds.), Nietzsche on freedom and autonomy. New York: Oxford University Press. pp. 181--196.
  12. Not ideal: Collingwood's expression theory.Aaron Ridley - 1997 - Journal of Aesthetics and Art Criticism 55 (3):263-272.
  13.  48
    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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  14. Musical Ontology, Musical Reasons.Aaron Ridley - 2012 - The Monist 95 (4):663-683.
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  15.  77
    Emotion and feeling: Aaron Ridley.Aaron Ridley - 1997 - Aristotelian Society Supplementary Volume 71 (1):163–176.
  16. 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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  17. Emotion and Feeling.Geoffrey C. Madell & Aaron Ridley - 1997 - Aristotelian Society Supplementary Volume 71 (71):147-176.
  18.  76
    Music, value, and the passions.Aaron Ridley - 1995 - Ithaca: 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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  19.  75
    On Fate.David Owen & Aaron Ridley - 2003 - International Studies in Philosophy 35 (3):63-78.
  20.  62
    IIAaron Ridley.Aaron Ridley - 1997 - Aristotelian Society Supplementary Volume 71 (1):163-176.
  21. (1 other version)Music, Value and the Passions.Aaron Ridley - 1995 - Mind 109 (434):387-390.
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  22. 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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  23. Musical sympathies: The experience of expressive music.Aaron Ridley - 1995 - Journal of Aesthetics and Art Criticism 53 (1):49-57.
  24.  31
    Acting for Aesthetic Reasons.Maria Alvarez & Aaron Ridley - 2020 - Estetika: The European Journal of Aesthetics 54 (1):65–84.
    It seems natural to think that there are aesthetic reasons for action and that an artist must be guided by such reasons as he or she begins work on the canvas or poem or symphony or marble. This latter supposition seems at odds, however, not only with classical inspiration theory but also with the views of one of the last century’s most important philosophers of art, R. G. Collingwood. We propose an account of acting for an aesthetic reason inspired by (...)
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  25.  27
    R.G. Collingwood: a philosophy of art.Aaron Ridley (ed.) - 1998 - London: 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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  26.  42
    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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  27.  83
    (1 other version)Nietzsche's Conscience.Aaron Ridley - 1996 - Journal of Nietzsche Studies 11:1-12.
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  28.  21
    (1 other version)Critical review: A Nietzsche round-up.Aaron Ridley - 1998 - Philosophical Quarterly 48 (191):235-242.
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  29.  22
    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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  30. 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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  31.  53
    Ill-gotten gains: on the use of results from unethical experiments in medicine.Aaron Ridley - 1995 - Public Affairs Quarterly 9 (3):253-266.
  32.  8
    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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  33. 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.
  34.  69
    Routledge Philosophy Guidebook to Nietzsche on Art.Aaron Ridley - 2007 - New York: 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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  35. Nietzsche on Language.Maria Alvarez & Aaron Ridley - 2005 - Philosophical Topics 33 (2):1-17.
  36.  12
    Vi *—nietzsche and the re-evaluation of values.Aaron Ridley - 2005 - Proceedings of the Aristotelian Society 105 (2):171-191.
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  37. Expression in Art.Aaron Ridley - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press.
  38.  64
    Nietzsche's Greatest Weight.Aaron Ridley - 1997 - Journal of Nietzsche Studies 14:19-25.
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  39.  36
    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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  40.  93
    The philosophy of medium-grade art.Aaron Ridley - 1996 - British Journal of Aesthetics 36 (4):413-413.
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  41. Pitiful Responses To Music.Aaron Ridley - 1993 - British Journal of Aesthetics 33 (1):72-74.
  42. Perishing of the Truth: Nietzsche's Aesthetic Prophylactics: Articles.Aaron Ridley - 2010 - British Journal of Aesthetics 50 (4):427-437.
    This paper offers an interpretation of Nietzsche’s well known unpublished remark, ‘Truth is ugly. We possess art lest we perish of the truth.’ I argue that it is not helpful to construe this remark as a claim to the effect that art falsifies the truth by, for example, peddling lies or deceptions. Rather, I suggest, the remark should be taken to refer to the various ways in which art can present us with the truth in such a manner that we (...)
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  43.  5
    8. Dramatis Personae: Nietzsche, Culture, and Human Types.David Owen & Aaron Ridley - 2000 - In Alan D. Schrift (ed.), Why Nietzsche Still?: Reflections on Drama, Culture, and Politics. University of California Press. pp. 136-153.
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  44. (1 other version)Arguing about Art (2nd edition).Alex Neill & Aaron Ridley (eds.) - 2002 - Routledge.
     
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  45. Arguing About Art: Contemporary Philosophical Debates.Alex Neill & Aaron Ridley (eds.) - 2001 - New York: Routledge.
    Offering a unique 'debate' format, the third edition of_ _the bestselling_ Arguing About Art_ is ideal for newcomers to aesthetics or philosophy of art. This lively collection presents an extensive range of short, clear introductions to each of the discussions which include: sentimentality appreciation interpretation understanding objectivity nature food horror. With revised introductions, updated suggestions for further reading and new sections on pornography and societies without art, _Arguing About Art _provides_ _a stimulating and accessible anthology suitable for those coming to (...)
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  46.  90
    Burning Passions.Alex Neill & Aaron Ridley - 1991 - Analysis 51 (2):106 - 108.
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  47. (10 other versions)Constance Penley, ed., Feminism and Film Theory Reviewed by.Alex Neill & Aaron Ridley - 1990 - Philosophy in Review 10 (9):345-351.
     
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  48.  35
    Still an Error: Relational Theories of Art.Alex Neill & Aaron Ridley - 2016 - British Journal of Aesthetics 56 (2):187-189.
    Aaron Meskin and Simon Fokt have recently taken issue with our 2012 paper, ‘Relational Theories of Art: the History of an Error’. Here we respond to their objections.
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  49.  34
    The Philosophy of Art: Readings Ancient and Modern.Alex Neill & Aaron Ridley - 1994 - McGraw-Hill Education.
    This anthology is intended as a core text for courses in aesthetics or philosophy of art. It contains a wealth of readings from both classic and contemporary sources, and aims to present substantial selections from those texts rather than mere "snippets." Readings are organized historically within four broad themes so that students can see how concepts of art have evolved and been debated. Each reading is introduced by the authors, who suggest connections between the reading and others in the anthology. (...)
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  50.  25
    The Scope Argument, MICHAEL O'ROURKE.Against Musical Ontology & Aaron Ridley - 2003 - Journal of Philosophy 100 (3).
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