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Derek Matravers
Open University (UK)
  1.  67
    Fiction and Narrative.Derek Matravers - 2014 - Oxford University Press.
    Do fictions depend upon imagination? Derek Matravers argues against the mainstream view that they do, and offers an original account of what it is to read, listen to, or watch a narrative. He downgrades the divide between fiction and non-fiction, largely dispenses with the imagination, and in doing so illuminates a succession of related issues.
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  2. Art and Emotion.Derek Matravers - 1998 - Oxford University Press.
    Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts (...)
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  3.  47
    The Challenge of Irrationalism and How Not to Meet It.Derek Matravers - unknown
    About the book: Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, (...)
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  4. Art and Emotion.Derek Matravers - 2000 - Mind 109 (435):627-630.
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  5. Fictional Assent and the (so-Called) `Puzzle of Imaginative Resistance'.Derek Matravers - 2003 - In Matthew Kieran & Dominic McIver Lopes (eds.), Imagination, Philosophy, and the Arts. Routledge. pp. 91-106.
    This article criticises existing solutions to the 'puzzle of imaginative resistance', reconstrues it, and offers a solution of its own. About the Book : Imagination, Philosophy and the Arts is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of (...)
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  6.  60
    Empathy as a Route to Knowledge.Derek Matravers - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy. Philosophical and Psychological Perspectives. Oxford University Pres. pp. 19.
    Is it epistemologically better to feel an emotion that someone is having, rather than just believing he or she is having the emotion? This is the question that Derek Matravers is raising.
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  7. The Aesthetic Experience.Derek Matravers - 2003 - British Journal of Aesthetics 43 (2):158-174.
    This paper joins recent attempts to defend a notion of aesthetic experience. It argues that phenomenological facts and facts about aesthetic value support the Kantian notion that aesthetic experience lies between, but differs from, pleasures of the agreeable and pleasures stemming from cognitions. It then shows that accounts by Beardsley, Levinson, and Savile fail to resolve clear tensions that surface in attempting to characterize such an experience. An account of aesthetic experience—as involving experienced cognitions that are the bearers of value—is (...)
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  8. Why We Should Give Up on the Imagination.Derek Matravers - 2010 - Midwest Studies in Philosophy 34 (1):190-199.
    This paper criticises the current orthodoxy that people who engage with fiction fils are exercising their imagination.
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  9.  16
    Introducing Philosophy of Art: In Eight Case Studies.Derek Matravers - 2012 - Routledge.
    Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms a basis for a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is the artistic (...)
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  10.  36
    The Paradox of Fiction: The Report Versus the Perceptual Model.Derek Matravers - unknown
    I am going to assume, in what follows, that when we engage with a fiction we are participating in a game of make-believe; that is, that we are engaging in an imaginative effort. In this paper I shall attempt to identify the kind of game we are playing. I begin with two words of caution. First, identifying the kind of game will be a matter of finding a game whose structure best reflects the facts about our engagement with fiction. The (...)
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  11.  87
    Beliefs and Fictional Narrators.Derek Matravers - 1995 - Analysis 55 (2):121 - 122.
    In his book _The Nature of Fiction_ Greg Currie makes the following proposal concerning the contents of works of fiction: 'Fs' is an abbreviation of 'P is true in fiction S', where P is some proposition and S is some work of fiction. 'Fs' is true iff it is reasonable for the informed reader to infer that the fictional author of S believes that P. In reading a fiction we engage in a make-believe, and the fictional author is that fictional (...)
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  12.  18
    Approach to Aesthetics: Collected Papers on Philosophical Aesthetics.Derek Matravers - 2002 - Mind 111 (444):912-916.
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  13. Aesthetic Relativism.Derek Matravers - 2010 - Postgraduate Journal of Aesthetics 7 (2):1-12.
    As Hume remarks, the view that aesthetic evaluations are ‘subjective’ is part of common sense—one certainly meets it often enough in conversation. As philosophers, we can distinguish the one sense of the claim (‘aesthetic evaluations are mind- dependent’) from another (‘aesthetic evaluations are relative’). A plausible reading of the former claim (‘some of the grounds of some aesthetic evaluations are response- dependent’) is true. This paper concerns the latter claim. It is not unknown, or even unexpected, to find people who (...)
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  14.  39
    Jerrold Levinson.Derek Matravers & Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79 (1):211–227.
  15.  60
    Who's Afraid of Virginia Woolf?Derek Matravers - 1991 - Ratio 4 (1):25-37.
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  16. Aesthetic Properties.Derek Matravers & Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79:191-227.
    Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in a position (...)
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  17.  1
    Aesthetic Properties.Derek Matravers & Jerrold Levinson - 2005 - Proceedings of the Aristotelian Society, Supplementary Volumes 79:191-227.
    [Derek Matravers] Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in (...)
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  18.  11
    Aesthetic Properties.Derek Matravers - 2005 - Aristotelian Society Supplementary Volume 79 (1):191-210.
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  19.  46
    Derek Matravers.Derek Matravers & Jerrold Levinson - 2005 - Aristotelian Society Supplementary Volume 79 (1):191–210.
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  20.  28
    Arousal Theories.Derek Matravers - unknown
    This survey article looks at various arousal theories which aim to illuminate the connection between music and the emotions.
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  21.  77
    Merit, Aesthetic and Ethical.Derek Matravers - 2002 - Mind 111 (442):396-399.
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  22.  29
    Design as Communication: Exploring the Validity and Utility of Relating Intention to Interpretation.Nathan Crilly, David Good, Derek Matravers & P. John Clarkson - unknown
    This explores the role of intention in interpreting designed artefacts. The relationship between how designers intend products to be interpreted and how they are subsequently interpreted has often been represented as a process of communication. However, such representations are attacked for allegedly implying that designers' intended meanings are somehow ‘contained’ in products and that those meanings are passively received by consumers. Instead, critics argue that consumers actively construct their own meanings as they engage with products, and therefore that designers' intentions (...)
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  23.  65
    The Experience of Emotion in Music.Derek Matravers - 2003 - Journal of Aesthetics and Art Criticism 61 (4):353–363.
  24.  11
    Aesthetic Concepts.Derek Matravers - 2005 - Supplement to the Proceedings of the Aristotelian Society 79 (1):191-210.
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  25.  2
    II—Jerrold Levinson.Derek Matravers - 2005 - Supplement to the Proceedings of the Aristotelian Society 79 (1):211-227.
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  26.  34
    Aesthetic Creation – Nick Zangwill.Derek Matravers - 2009 - Philosophical Quarterly 59 (236):573-574.
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  27. Art, Expression and Emotion.Derek Matravers - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
    The primary use of such terms as "sadness" and "joy" is to refer to the mental states of people. In such cases, the claim that someone is sad is equivalent to the claim that they feel sad. However, our use of emotion terms is broader than this; a funeral is a sad occasion, a wedding is a happy event. In such cases, a justification can be given for the use of the word. For example, it is part of what is (...)
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  28.  39
    Institutional Definitions and Reasons.Derek Matravers - 2007 - British Journal of Aesthetics 47 (3):251-257.
    The paper examines certain aspects of institutionalist definitions of art, in particular whether they are committed to ‘indexing’, whereby calling something art makes it art. It is argued that there is no such commitment and that institutionalist definitions need not abandon the idea that works of art become art for specific, and substantial, reasons. The question is how reasons can be accommodated. A proposal from defenders of ‘cluster theories’ is considered and rejected. Another proposal is advanced according to which the (...)
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  29. Aesthetic Concepts and Aesthetic Experiences.Derek Matravers - 1996 - British Journal of Aesthetics 36 (3):265-279.
    In this paper I want to return to some well-worn ideas; specifically, the attempt to show that there is a distinctive subject-matter of the aesthetic via consideration of the difference between aesthetic and non-aesthetic concepts. The classic exposition of this distinction is Frank Sibley's 'Aesthetic Concepts'. Sibley claimed that, given a set of relevant terms, there will be widespread non-collusive agreement as to which are aesthetic and which non-aesthetic. Non-aesthetic terms include _'red, noisy, brackish, clammy, square, docile, curved, evanescent, intelligent, (...)
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  30.  81
    Debates in Contemporary Political Philosophy: An Anthology.Derek Matravers & Jonathan Pike (eds.) - 2002 - Routledge.
    This textbook reflects the buoyant state of contemporary political philosophy, and the development of the subject in the past two decades. It includes seminal papers on fundamental philosophical issues such as: the nature of social explanation distributive justice liberalism and communitarianism citizenship and multiculturalism nationalism democracy criminal justice. A range of views is represented, demonstrating the richness of the philosophical contribution to some of the most contested areas of public policy and political decision making. Each section has an introduction by (...)
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  31. Art and the Negative Emotions.Derek Matravers - unknown
    This paper argues that the role of the negative emotions in the appreciation of art is misunderstood. Usually taken to generate the 'paradox of tragedy', in fact the negative emotions play an essential role in creativity, and hence in art appreciation.
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  32.  43
    Two Comments and a Problem for David Davies' Performance Theory.Derek Matravers - 2005 - Acta Analytica 20 (4):32-40.
    This paper considers the view, recently put forward by David Davies in Art and Performance , that works of art should be identified with the generative performances that result in the object, rather than with the object. It attempts to disarm two of Davies arguments by, first, providing a criterion by which the contextualist can accommodate all and only the relevant generative properties as properties of the work, and, second, providing an alternative explanation for his modal intuitions. Finally, it draws (...)
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  33.  59
    Is Boring Art Just Boring?Derek Matravers - 1995 - Journal of Aesthetics and Art Criticism 53 (4):425-426.
    Recent articles in this journal by Frances Colpitt and Richard Lind have attempted to defend some works of minimal and conceptual art against the charge of being boring. I am skeptical about both of these attempts.
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  34.  51
    Review: Aesthetic Concepts: Essays After Sibley. [REVIEW]Derek Matravers - 2002 - Mind 111 (444):912-916.
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  35.  28
    Imagination, Fiction, and Documentary.Derek Matravers - 2011 - In Noel Carroll & John Gibson (eds.), Narrative, Emotion, and Insight. Penn State University. pp. 173.
    In this paper I argue against the current consensus that there is such a thing as 'the philosophy of fiction'. I argue instead that what are taken to be problems with fiction, are in fact problems with narrative more generally.
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  36.  13
    Wonder and Cognition.Derek Matravers - unknown
    This paper explores the cognitive content, and the cognitive benefits, of the state of wonder.
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  37. Aesthetic Properties 1 - Derek Matravers.Derek Matravers & Jerrold Levinson - unknown
    Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in a position (...)
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  38.  11
    Aesthetic Concepts: Essays After Sibley.Derek Matravers - 2002 - Mind 111 (444):912-916.
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  39.  23
    Empathy and The Danger of Inventing Words.Derek Matravers - 2019 - The Philosophers' Magazine 85:26-31.
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  40.  15
    Things: In Touch with the Past.Derek Matravers - 2020 - Philosophical Quarterly 70 (278):212-215.
    Things: In Touch with the Past. By Korsmeyer Carolyn.
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  41.  22
    Visualizing and Visualizing Representations.Derek Matravers - 2018 - Journal of Aesthetics and Art Criticism 76 (3):275-284.
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  42.  74
    Musical Expressiveness.Derek Matravers - 2007 - Philosophy Compass 2 (3):373–379.
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  43.  63
    Expression in Music.Derek Matravers - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
    This is a critical review of the current state of the debate in the philosophy of music, and defends the author's view as the phenomenology of the experience.
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  44.  42
    Book Reviews. [REVIEW]Derek Matravers - 1994 - British Journal of Aesthetics 34 (4):286-288.
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  45.  41
    Book-Reviews.Derek Matravers - 1997 - British Journal of Aesthetics 37 (3):286-288.
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  46.  67
    Once More with Feeling: A Reply to Ridley.Derek Matravers - 1994 - British Journal of Aesthetics 34 (2):174-177.
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  47. Figuring Out Figurative Art: Contemporary Philosophers on Contemporary Paintings.Damien Freeman & Derek Matravers - 2014 - Acumen Publishing.
    In 1797 Friedrich Schlegel wrote philosophy of art usually lacks one of two things: either the philosophy, or the art. This collection of essays contains both the philosophy and the art. It brings together an international team of leading philosophers to address diverse philosophical issues raised by recent works of art. Each essay engages with a specific artwork and explores the connection between the image and the philosophical content and how philosophy can aid interpretation of the artwork. The discussion ranges (...)
     
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  48. Conflict and Cultural Heritage: A Moral Analysis of the Challenges of Heritage Protection.Helen Frowe & Derek Matravers - 2019 - In James Cuno (ed.), J. Paul Getty Trust Occasional Papers in Cultural Heritage Policy. Los Angeles, CA, USA:
  49. Conflict and Cultural Heritage: A Moral Analysis of the Challenges of Heritage Protection.Helen Frowe & Derek Matravers - 2019 - In James Cuno (ed.), J Paul Getty Trust Occasional Papers in Cultural Heritage Policy. Los Angeles, CA, USA:
    In the third issue of the J. Paul Getty Trust Occasional Papers in Cultural Heritage Policy series, authors Helen Frowe and Derek Matravers pivot from the earlier tone of the series in discussing the appropriate response to attacks on cultural heritage with their paper, “Conflict and Cultural Heritage: A Moral Analysis of the Challenges of Heritage Protection.” While Frowe and Matravers acknowledge the importance of cultural heritage, they assert that we must more carefully consider the complex moral dimensions—the inevitable serious (...)
     
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  50. Art is Through Experience); However, It is the Detail of the Argument in Which its True Worth is Found. He Believed Strongly That the Artist.Derek Matravers - 2007 - In Diarmuid Costello & Jonathan Vickery (eds.), Art: Key Contemporary Thinkers. Berg. pp. 143.
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