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Berys Gaut [54]Berys Nigel Gaut [11]
  1. Art, emotion and ethics.Berys Nigel Gaut - 2007 - New York: 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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  2. The ethical criticism of art.Berys Gaut - 1998 - In Jerrold Levinson (ed.), Aesthetics and Ethics: Essays at the Intersection. New York: Cambridge University Press. pp. 182--203.
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  3. Art, Emotion and Ethics.Berys Gaut - 2008 - Journal of Aesthetics and Art Criticism 66 (2):199-201.
     
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  4. A Philosophy of Cinematic Art.Berys Nigel Gaut - 2010 - Cambridge: Cambridge University Press.
    A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of (...)
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  5. The Philosophy of Creativity.Berys Gaut - 2010 - Philosophy Compass 5 (12):1034-1046.
    This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...)
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  6. Ethics and practical reason.Garrett Cullity & Berys Nigel Gaut (eds.) - 1997 - New York: 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 (...)
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  7. Just joking: The ethics and aesthetics of humor.Berys Nigel Gaut - 1998 - Philosophy and Literature 22 (1):51-68.
  8.  30
    Creativity and Philosophy.Berys Nigel Gaut & Matthew Kieran (eds.) - 2018 - New York: Routledge.
    An outstanding collection of specially commissioned chapters by leading philosophers who explore the relationship between philosophy and creativity. Essential readings for those interested in the philosophy of creativity, it is also an extremely useful resource for those in related subjects such as music, art and visual studies, literature and education.
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  9. 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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  10. The paradox of horror.Berys Gaut - 1993 - British Journal of Aesthetics 33 (4):333-345.
  11. (1 other version)Ethics and Practical Reason.Garrett Cullity & Berys Gaut - 1999 - Mind 108 (431):570-575.
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  12.  45
    Group Creativity.Berys Gaut - 2022 - Royal Institute of Philosophy Supplement 92:5-26.
    Group creativity is vital in overcoming the numerous challenges that the world faces. Yet group creativity is deeply puzzling. It seems plausible that only agents can be creative, so group creativity requires group agency. But how could groups possess the mental states required to be agents, let alone the rich range of them required to be creative? It appears more reasonable to hold that group creativity is not a real phenomenon, but is merely the summed creativity of the individuals forming (...)
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  13. Creativity and Rationality.Berys Gaut - 2012 - Journal of Aesthetics and Art Criticism 70 (3):259-270.
  14. Art and ethics.Berys Gaut - 2000 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. New York: Routledge. pp. 341--352.
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  15. 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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  16. The structure of practical reason.Berys Gaut - 1997 - In Garrett Cullity & Berys Nigel Gaut (eds.), Ethics and practical reason. New York: Oxford University Press. pp. 161--188.
     
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  17.  73
    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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  18. Introduction.Garrett Cullity & Berys Gaut - 1997 - In Garrett Cullity & Berys Nigel Gaut (eds.), Ethics and practical reason. New York: Oxford University Press. pp. 1-27.
  19. Paisley Livingston, eds.Berys Gaut - 2003 - In Berys Nigel Gaut & Paisley Livingston (eds.), The Creation of Art: New Essays in Philosophical Aesthetics. New York, NY: Cambridge University Press.
     
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  20. Empathy and Identification in Cinema.Berys Gaut - 2010 - Midwest Studies in Philosophy 34 (1):136-157.
  21. Film authorship and collaboration.Berys Gaut - 1997 - In Richard Allen & Murray Smith (eds.), Film theory and philosophy. New York: Oxford University Press. pp. 149--172.
     
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  22. 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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  23. Art and knowledge.Berys Gaut - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press. pp. 439--441.
  24. Interpreting the arts: The patchwork theory.Berys Gaut - 1993 - Journal of Aesthetics and Art Criticism 51 (4):597-609.
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  25. Moral pluralism.Berys Gaut - 1993 - Philosophical Papers 22 (1):17-40.
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  26. The Creation of Art: New Essays in Philosophical Aesthetics.Berys Nigel Gaut & Paisley Livingston (eds.) - 2003 - New York, NY: 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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  27. (2 other versions)The Routledge Companion to Aesthetics.Berys Nigel Gaut & Dominic Lopes (eds.) - 2000 - New York: 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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  28. Film.Berys Gaut - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press.
     
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  29. 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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  30. The philosophy of the movies : Cinematic narration.Berys Gaut - 2004 - In Peter Kivy (ed.), Blackwell Guide to Aesthetics. Malden, MA: Wiley-Blackwell. pp. 230--253.
    This chapter contains sections titled: Some Issues in the Philosophy of Film Film Narration: Symmetry or Asymmetry? The A Priori Argument Three Models of Implicit Cinematic Narrators Absurd Imaginings and Silly Questions Literary Narrators Medium‐Specific Explanations.
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  31.  42
    Telling Stories.Berys Gaut - 2011 - In Noël Carroll & John Gibson (eds.), Narrative, Emotion, and Insight. Pennsylvania State University Press. pp. 23.
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  32. (1 other version)The Routledge Companion to Aesthetics.Berys Gaut & Dominic Mciver Lopes - 2002 - Philosophical Quarterly 52 (207):280-282.
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  33. Justifying Moral Pluralism.Berys Gaut - 2002 - In Philip Stratton-Lake (ed.), Ethical Intuitionism: Re-Evaluations. Oxford University Press UK.
     
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  34. The Creation of Art.Berys Gaut & Paisley Livingston - 2005 - Philosophical Quarterly 55 (220):538-540.
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  35.  41
    XI*—Metaphor and the Understanding of Art.Berys Gaut - 1997 - Proceedings of the Aristotelian Society 97 (1):223-242.
    Berys Gaut; XI*—Metaphor and the Understanding of Art, Proceedings of the Aristotelian Society, Volume 97, Issue 1, 1 June 1997, Pages 223–242, https://doi.org/.
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  36. 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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  37. Cinematic art.Berys Gaut - 2002 - Journal of Aesthetics and Art Criticism 60 (4):299–312.
  38.  52
    Opaque Pictures.Berys Gaut - 2009 - Revue Internationale de Philosophie 250 (4):381-396.
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  39.  13
    Philosophy for young children: a practical guide.Berys Nigel Gaut - 2012 - New York: Routledge. Edited by Morag Gaut.
    With this book, any teacher can start teaching philosophy to children today! Co-written by a professor of philosophy and a practising primary school teacher, Philosophy for Young Children is a concise, practical guide for teachers. It contains detailed session plans for 36 philosophical enquiries - enough for a year's work - that have all been successfully tried, tested and enjoyed with young children from the age of three upwards. The enquiries explore a range of stimulating philosophical questions about fairness, the (...)
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  40.  87
    Imagination, interpretation, and film.Berys Gaut - 1998 - Philosophical Studies 89 (2-3):331-341.
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  41.  68
    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. (1 other version)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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  43. The Routledge Companion to Aesthetics Third Edition.Berys Gaut & Dominic Lopes (eds.) - 2013 - 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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  44. Mirrors to One Another.Dominic McIver Lopes & Berys Gaut (eds.) - 2009-04-17 - Wiley‐Blackwell.
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  45. Once‐Told Tales.Dominic McIver Lopes & Berys Gaut (eds.) - 2011-04-15 - Wiley‐Blackwell.
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  46. The Aesthetics of Wine.Dominic McIver Lopes & Berys Gaut (eds.) - 2012-07-16 - Wiley.
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  47. Comic Relief.Dominic McIver Lopes & Berys Gaut (eds.) - 2009-09-04 - Wiley‐Blackwell.
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  48. The enjoyment theory of horror: A response to Carroll.Berys Gaut - 1995 - British Journal of Aesthetics 35 (3):284-289.
  49.  76
    (1 other version)Analytic Philosophy of Film: History, Issues, Prospects.Berys Gaut - 1997 - Philosophical Books 38 (3):145-156.
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  50.  32
    Rawls and the claims of liberal legitimacy.Berys Gaut - 1995 - Philosophical Papers 24 (1):1-22.
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