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Berys Gaut [57]Berys Nigel Gaut [3]
  1. Art, Emotion and Ethics.Berys Gaut - 2008 - Journal of Aesthetics and Art Criticism 66 (2):199-201.
     
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  2. Art, Emotion and Ethics.Berys Gaut - 2007 - Oxford University Press.
    The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.
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  3. The Ethical Criticism of Art.Berys Gaut - 1998 - In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. Cambridge University Press. pp. 182--203.
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  4.  64
    A Philosophy of Cinematic Art.Berys Gaut - 2010 - Cambridge: Cambridge University Press.
    A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.
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  5. Ethics and Practical Reason.Garrett Cullity & Berys Gaut (eds.) - 1997 - Oxford University Press.
    These thirteen new, specially written essays by a distinguished international line-up of contributors, including some leading contemporary moral philosophers, give a rich and varied view of current work on ethics and practical reason. The three main perspectives on the topic, Kantian, Humean, and Aristotelian, are all well represented. Issues covered include: the connection between reason and motivation; the source of moral reasons and their relation to reasons of self-interest; the relation of practical reason to value, to freedom, to responsibility, and (...)
  6. The Cluster Account of Art Defended.Berys Gaut - 2005 - British Journal of Aesthetics 45 (3):273-288.
    This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.
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  7. The Philosophy of Creativity.Berys Gaut - 2010 - Philosophy Compass 5 (12):1034-1046.
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  8. Just Joking: The Ethics and Aesthetics of Humor.Berys Nigel Gaut - 1998 - Philosophy and Literature 22 (1):51-68.
  9.  8
    Image and Mind: Film, Philosophy, and Cognitive Science.Berys Gaut & Gregory Currie - 1998 - Philosophical Review 107 (1):138.
    In this important and impressive book, Gregory Currie tackles several fundamental topics in the philosophy of film and says much of general interest about the nature of imagination. The first part examines the nature of film representation, rejecting the view that spectators are subject to any kind of cognitive or perceptual illusions. Currie also argues against Walton’s transparency claim, which holds that when we look at a photograph we are literally seeing the object photographed. He instead defends perceptual realism, the (...)
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  10. Art and Ethics.Berys Gaut - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge. pp. 341--352.
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  11. The Paradox of Horror.Berys Gaut - 1993 - British Journal of Aesthetics 33 (4):333-345.
  12. Interpretation and Construction: Art, Speech and the Law.Robert Stecker, Matthew Kieran, Berys Gaut & Paisley Livingston - 2005 - Philosophical Quarterly 55 (218):150-155.
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  13.  30
    Truth, Fiction, and Literature: A Philosophical Perspective.Berys Gaut - 1996 - Philosophical Review 105 (1):84.
    Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...)
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  14. Empathy and Identification in Cinema.Berys Gaut - 2010 - Midwest Studies in Philosophy 34 (1):136-157.
  15.  97
    Introduction.Garrett Cullity & Berys Gaut - 1997 - In Garrett Cullity Berys Gaut (ed.), Ethics and Practical Reason. Oxford: Oxford University Press. pp. 1-27.
  16. Ethics and Practical Reason.Garrett Cullity & Berys Gaut - 1999 - Mind 108 (431):570-575.
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  17. The Structure of Practical Reason.Berys Gaut - 1997 - In Garrett Cullity & Berys Nigel Gaut (eds.), Ethics and Practical Reason. Oxford University Press. pp. 161--188.
     
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  18.  13
    Ethics and Practical Reason.Garrett Cullity & Berys Gaut - 1999 - Philosophical Quarterly 49 (197):537-539.
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  19.  77
    Creativity and Rationality.Berys Gaut - 2012 - Journal of Aesthetics and Art Criticism 70 (3):259-270.
  20.  23
    Telling Stories.Berys Gaut - 2011 - In Noel Carroll & John Gibson (eds.), Narrative, Emotion, and Insight. Penn State University. pp. 23.
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  21. The Creation of Art: New Essays in Philosophical Aesthetics.Berys Gaut & Paisley Livingston (eds.) - 2003 - Cambridge University Press.
    Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...)
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  22.  71
    Art and Knowledge.Berys Gaut - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 439--441.
  23.  79
    XI—Metaphor and the Understanding of Art.Berys Gaut - 1997 - Proceedings of the Aristotelian Society 97 (3):223-241.
  24. On Cinema and Perversion.Berys Gaut - 1994 - Film & Philosophy (Society for the Philosophic Study of the Contemporary Visual Arts) 1:3-17.
     
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  25. Moral Pluralism.Berys Gaut - 1993 - Philosophical Papers 22 (1):17-40.
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  26.  66
    Interpreting the Arts: The Patchwork Theory.Berys Gaut - 1993 - Journal of Aesthetics and Art Criticism 51 (4):597-609.
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  27.  59
    The Philosophy of the Movies : Cinematic Narration.Berys Gaut - 2004 - In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell. pp. 230--253.
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  28. Film.Berys Gaut - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press.
     
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  29. Paisley Livingston, Eds.Berys Gaut - 2003 - In Berys Nigel Gaut & Paisley Livingston (eds.), The Creation of Art: New Essays in Philosophical Aesthetics. Cambridge University Press.
     
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  30. Justifying Moral Pluralism.Berys Gaut - 2002 - In Philip Stratton-Lake (ed.), Ethical Intuitionism: Re-Evaluations. Clarendon Press.
     
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  31.  89
    The Routledge Companion to Aesthetics.Berys Gaut & Dominic Lopes (eds.) - 2000 - Routledge.
    The third edition of the acclaimed _Routledge Companion to Aesthetics_ contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to (...)
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  32. Film Authorship and Collaboration.Berys Gaut - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press. pp. 149--172.
     
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  33.  60
    Mixed Motivations: Creativity as a Virtue.Berys Gaut - 2014 - Royal Institute of Philosophy Supplement 75:183-202.
    The thought that creativity is a kind of virtue is an attractive one. Virtues are valuable traits that are praised and admired, and creativity is a widely celebrated trait in our society. In philosophical ethics, epistemology, and increasingly aesthetics, virtue-theoretical approaches are influential, so an account of creativity as a virtue can draw on well-established theories. Several philosophers, including Linda Zagzebski, Christine Swanton and Matthew Kieran, have argued for the claim that creativity is a virtue, locating this claim within a (...)
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  34.  94
    Cinematic Art.Berys Gaut - 2002 - Journal of Aesthetics and Art Criticism 60 (4):299–312.
  35. The Enjoyment Theory of Horror: A Response to Carroll.Berys Gaut - 1995 - British Journal of Aesthetics 35 (3):284-289.
  36.  93
    Nehamas on Beauty and Love.Berys Gaut - 2010 - British Journal of Aesthetics 50 (2):199-204.
    In Only a Promise of Happiness Alexander Nehamas holds that beauty is the object of love. I raise three objections to this claim when formulated in terms of personal love: love is too narrow in scope to be the attitude whose formal object is beauty; one can experience a person's beauty but have no love for her; and love is of particulars, not of attributes, however specific, such as beauty. A second kind of love, hedonic love, is too broad in (...)
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  37. Philosophy for Young Children: A Practical Guide.Berys Nigel Gaut - 2012 - Routledge.
  38.  8
    The Routledge Companion to Aesthetics.Berys Gaut & Dominic Mciver Lopes - 2003 - Journal of Aesthetics and Art Criticism 61 (2):195-196.
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  39.  60
    Imagination, Interpretation, and Film.Berys Gaut - 1998 - Philosophical Studies 89 (2-3):331-341.
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  40.  79
    Rag-Bags, Disputes and Moral Pluralism.Berys Gaut - 1999 - Utilitas 11 (1):37.
    Moral pluralism of the kind associated with W. D. Ross is the doctrine that there is a plurality of moral principles, which in their application to particular cases can conflict, and that there is no further principle to determine which of these principles takes priority in cases of conflict. Two objections are commonly advanced against this kind of pluralism: that it proposes a rag-bag of moral principles lacking a unifying basis; and that it offers no way to adjudicate moral disputes (...)
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  41.  39
    The Derivation Without the Gap: Rethinking Groundwork I.Berys Gaut & Samuel Kerstein - 1999 - Kantian Review 3:18-40.
    At the core of Kant's Groundwork of the Metaphysics of Morals lies his ‘derivation’ of the categorical imperative: his attempt to establish that, if there is a supreme principle of morality, then it is this imperative. Kant's argument for this claim is one of the most puzzling in his corpus. The received view, championed by Aune and Allison, is that there is a fundamental gap in the argument, which Kant elides by means of a simple but deadly confusion, thus robbing (...)
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  42.  25
    Opaque Pictures.Berys Gaut - 2009 - Revue Internationale de Philosophie 250 (4):381-396.
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  43.  52
    Analytic Philosophy of Film: History, Issues, Prospects.Berys Gaut - 1997 - Philosophical Books 38 (3):145-156.
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  44.  28
    Conference on Ethics and Practical Reason.Garrett Cullity & Berys Gaut - 1996 - Journal of Value Inquiry 30 (4):573-577.
  45.  11
    Image and Mind: Film, Philosophy, and Cognitive Science.Berys Gaut - 1998 - Philosophical Review 107 (1):138-140.
    In this important and impressive book, Gregory Currie tackles several fundamental topics in the philosophy of film and says much of general interest about the nature of imagination. The first part examines the nature of film representation, rejecting the view that spectators are subject to any kind of cognitive or perceptual illusions. Currie also argues against Walton’s transparency claim, which holds that when we look at a photograph we are literally seeing the object photographed. He instead defends perceptual realism, the (...)
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  46. The Routledge Companion to Aesthetics.Berys Gaut & Dominic Mciver Lopes - 2002 - Philosophical Quarterly 52 (207):280-282.
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  47.  25
    Review: Truth, Fiction, and Literature. [REVIEW]Berys Gaut - 1996 - Philosophical Review 105 (1):84-86.
    Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...)
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  48.  16
    Truth, Fiction, and Literature: A Philosophical Perspective.Berys Gaut - 1996 - Philosophical Review 105 (1):84-86.
    Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...)
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  49.  27
    Book Review. [REVIEW]Raymond A. Belliotti & Berys Gaut - 1992 - Journal of Value Inquiry 26 (2):293-300.
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  50.  18
    Rawls and the Claims of Liberal Legitimacy.Berys Gaut - 1995 - Philosophical Papers 24 (1):1-22.
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