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Garry L. Hagberg [35]Garry Hagberg [34]Garry Lyn Hagberg [1]
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Profile: Garry L. Hagberg (Bard College)
  1. On Philosophy as Therapy: Wittgenstein, Cavell, and Autobiographical Writing.Garry Hagberg - 2003 - Philosophy and Literature 27 (1):196-210.
  2. Leporello's Question.Garry Hagberg - 2005 - Philosophy and Literature 29 (1):180-199.
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  3. What, After All, is a Work of Art?Garry L. Hagberg - 2002 - British Journal of Aesthetics 42 (2):206-209.
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  4.  1
    How to Read Wittgenstein – Ray Monk.Garry L. Hagberg - 2007 - Philosophical Quarterly 57 (228):491-495.
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  5.  13
    Word and Object: Museums and the Matter of Meaning.Garry L. Hagberg - 2016 - Royal Institute of Philosophy Supplement 79:261-293.
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  6.  69
    On Representing Jazz: An Art Form in Need of Understanding.Garry Hagberg - 2002 - Philosophy and Literature 26 (1):188-198.
  7.  52
    Describing Ourselves: Wittgenstein and Autobiographical Consciousness.Garry Hagberg - 2008 - Oxford University Press.
    The voluminous writings of Ludwig Wittgenstein contain some of the most profound reflections of recent times on the nature of the human subject and self-understanding - the human condition, philosophically speaking. Describing Ourselves mines those extensive writings for a conception of the self that stands in striking contrast to its predecessors as well as its more recent alternatives. More specifically, the book offers a detailed discussion of Wittgenstein's later writings on language and mind as they hold special significance for the (...)
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  8.  5
    Art Rethought: The Social Practices of Art.Garry L. Hagberg - 2017 - British Journal of Aesthetics 57 (3):331-334.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comThere exists, according to Nicholas Wolterstorff in this deeply engaging and exemplary study, a Grand Narrative that runs through much of our thinking about art. That narrative, emerging from and solidified since the eighteenth century, is in essence that art is created for, and remains in museums and galleries as occasions for, abstract and transcendent (...)
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  9.  1
    Introduction: Not "Of," "As," or "And," but "In".Garry L. Hagberg - 2017 - Philosophy and Literature 41 (1):v-v.
    The philosophy of literature, a topic on which we publish numerous articles, concerns what we at the journal take to be engaging and interestingly intricate issues; these include the ontology of fictional characters and the precise nature of our emotional responses to fiction. Philosophy as literature, although we perhaps publish fewer works of this kind, considers philosophical writing from a literary standpoint; issues here include the varying stylistics of philosophical writing over the ages and the role of figurative or metaphorical (...)
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  10.  13
    Wittgenstein, Music and the Philosophy of Culture.Garry L. Hagberg - 2014 - The Harvard Review of Philosophy 21:23-40.
  11.  30
    Foreword: Improvisation in the Arts.Garry Hagberg - 2000 - Journal of Aesthetics and Art Criticism 58 (2):95-97.
  12. Art and Ventriloquism.David Goldblatt & Garry L. Hagberg - 2007 - Journal of Aesthetics and Art Criticism 65 (2):238-240.
     
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  13.  27
    Jazz Improvisation : A Mimetic Art ?Garry Hagberg - 2006 - Revue Internationale de Philosophie 4:469-485.
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  14.  57
    The Thinker and The Draughtsman: Wittgenstein, Perspicuous Relations, and ‘Working on Oneself’.Garry L. Hagberg - 2010 - Royal Institute of Philosophy Supplement 66:67-81.
    In 1931, in the remarks collected as Culture and Value, Wittgenstein writes: ‘A thinker is very much like a draughtsman whose aim it is to represent all the interrelations between things.’ At a glance it is clear that this analogy might contribute significantly to a full description of the autobiographical thinker as well. And this conjunction of relations between things and the work of the draughtsman immediately and strongly suggests that the grasping of relations is in a sense visual, or (...)
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  15.  58
    Art and the Unsay Able: Langer's Tractarian Aesthetics.Garry Hagberg - 1984 - British Journal of Aesthetics 24 (4):325-340.
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  16.  53
    Wittgenstein Underground.Garry Hagberg - 2004 - Philosophy and Literature 28 (2):379-392.
    : This paper argues that Dostoevsky's Notes from Underground makes a fundamental point that runs directly counter to the received popular image of the work; i.e. the understanding that Notes describes a consciousness reflecting on itself, hermetically sealed within its own Cartesian interior. In truth, a closer reading shows that the mind depicted therein is profoundly relational and situated in a particularized context, and that this discursive mind characterizes what Wittgenstein says about mental privacy in the context of the private (...)
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  17. Autobiographical Memory: Wittgenstein, Davidson, and the 'Descent Into Ourselves'.Garry L. Hagberg - 2006 - In David Rudrum (ed.), Literature and Philosophy: A Guide to Contemporary Debates. Palgrave-Macmillan.
  18. Improvisation: Jazz Improvisation.Garry Hagberg - 1998 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. pp. 1--479.
     
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  19. Jazz Improvisation and Ethical Interaction : A Sketch of the Connections.Garry L. Hagberg - 2008 - In Garry Hagberg (ed.), Art and Ethical Criticism. Blackwell.
     
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  20.  25
    Understanding Happiness.Garry Hagberg - 1984 - Mind 93 (372):589-591.
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  21.  8
    Introduction: On the Ground of Ethical Criticism.Garry L. Hagberg - 2015 - Philosophy and Literature 39 (1):v-vi.
    One can characterize the relation between philosophy and literature in a number of interestingly different ways: literature provides examples that put flesh on the bones of philosophical ideas; literature shows what philosophy says; literature serves philosophy by displaying the complexity of circumstance that philosophy may oversimplify; literature captures a kind of content that is not amenable to propositional encapsulation; literature offers a portal into an imaginative world and a special kind of vicarious experience within it that philosophy does not and (...)
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  22.  37
    Davidson, Self-Knowledge, and Autobiographical Writing.Garry Hagberg - 2002 - Philosophy and Literature 26 (2):354-368.
  23.  14
    Self-Expression.Garry L. Hagberg - 2010 - British Journal of Aesthetics 50 (1):107-109.
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  24.  5
    Wittgenstein, Henry James, and Epistemological Fiction.Garry Hagberg - 1989 - Philosophy and Literature 13 (1):75-95.
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  25.  28
    Thinking of Others: On the Talent for Metaphor, by Ted Cohen. [REVIEW]Garry L. Hagberg - 2010 - Mind 119 (476):1145-1151.
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  26.  26
    Aristotle's "Mimesis" and Abstract Art.Garry Hagberg - 1984 - Philosophy 59 (229):365 - 371.
    Does non-representational art itself constitute a refutation of any theory of art based upon mimesis or imitation? Our intuitions regarding this question seem to support an affirmative answer: it appears impossible to account for abstract and non-representational art in terms of imitation, because, to put the problem simply, if nothing is copied in a work of art then there can be nothing essentially imitative about it. The very notion of abstract imitative art seems self-contradictory.
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  27.  25
    On Rhythm.Garry L. Hagberg - 2010 - Journal of Aesthetics and Art Criticism 68 (3):281-284.
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  28.  23
    Wittgenstein's Aesthetics.Garry Hagberg - 2007 - Stanford Encyclopedia of Philosophy.
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  29.  7
    Implication in Interpretation: Wittgenstein, Artistic Content, and ‘The Field of a Word’.Garry L. Hagberg - 2015 - In Annalisa Coliva, Volker Munz & Danièle Moyal-Sharrock (eds.), Mind, Language and Action: Proceedings of the 36th International Wittgenstein Symposium. De Gruyter. pp. 45-64.
  30.  12
    Editor's Note.Garry L. Hagberg - 2012 - Philosophy and Literature 36 (1):iv-v.
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  31.  18
    Review of Ray Monk, How to Read Wittgenstein[REVIEW]Garry L. Hagberg - 2007 - Philosophical Quarterly 57 (228):491–495.
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  32.  16
    Book Review: Meaning and Interpretation: Wittgenstein, Henry James, and Literary Knowledge. [REVIEW]Garry Hagberg - 1995 - Philosophy and Literature 19 (2).
  33.  15
    Creation as Translation.Garry Hagberg - 1987 - Journal of Aesthetics and Art Criticism 46 (2):249-258.
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  34.  10
    Art as Thought: The Inner Conflicts of Aesthetic Idealism.Garry Hagberg - 1986 - Philosophical Investigations 9 (4):257-273.
  35.  10
    Review of Stephen Davies, Themes in the Philosophy of Music[REVIEW]Garry L. Hagberg - 2006 - Notre Dame Philosophical Reviews 2006 (1).
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  36. David G. Stern, Wittgenstein's Philosophical Investigations: An Introduction Reviewed By.Garry L. Hagberg - 2006 - Philosophy in Review 26 (5):384-386.
     
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  37. Jenefer Robinson, Ed., Music and Meaning Reviewed By.Garry L. Hagberg - 1999 - Philosophy in Review 19 (1):52-55.
     
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  38. James K. Wright, Schoenberg, Wittgenstein and the Vienna Circle Reviewed By.Garry L. Hagberg - 2006 - Philosophy in Review 26 (6):449-452.
     
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  39. Jerrold Levinson, Music, Art, & Metaphysics: Essays in Philosophical Aesthetics Reviewed By.Garry Hagberg - 1993 - Philosophy in Review 13 (6):325-327.
     
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  40.  8
    War of the Worldviews.Denis Dutton & Garry Hagberg - 2002 - Philosophy and Literature 26 (1):iii-iv.
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  41. The Self Rewritten : The Case of Self-Forgiveness.Garry L. Hagberg - 2011 - In Christel Fricke (ed.), The Ethics of Forgiveness: A Collection of Essays. Routledge.
     
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  42.  4
    The self, speaking.Garry Hagberg - 2002 - Revue Internationale de Philosophie 1 (219):9-47.
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  43.  6
    Listening to Music By Martyn Evans London: Macmillan, 1990, Viii + 160 Pp., £35.00. [REVIEW]Garry Hagberg - 1992 - Philosophy 67 (259):123-.
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  44.  5
    Music and Imagination.Garry Hagberg - 1986 - Philosophy 61 (238):513 - 517.
    When we inquire into the nature of works of art we can see at a glance that there is a good deal of evidence against aesthetic idealism, the view that artworks are, in the final analysis, imaginary objects in the minds of their creators. We believe, for instance, that the National Gallery not only contingently but in some sense necessarily weighs more than merely the sum of the empty building, the people in it, and the assorted fixtures. This sum must (...)
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  45. VA Howard, Artistry: The Work of Artists Reviewed By.Garry Hagberg - 1984 - Philosophy in Review 4 (3):113-115.
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  46.  2
    Book Reviews. [REVIEW]Garry Hagberg - 1990 - British Journal of Aesthetics 30 (3):287-288.
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  47.  1
    Introductory Note: Denis Dutton, Editor.Garry L. Hagberg - 2014 - Philosophy and Literature 38 (1A):iv-vi.
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  48.  1
    Artistic Intention and Mental Image.Garry Hagberg - 1988 - Journal of Aesthetic Education 22 (3):63-75.
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  49. Seeing Wittgenstein Anew.Norton Batkin, Sandra Laugier, Timouthy Gould, Stanley Cavell, Garry L. Hagberg & Victor J. Krebs - unknown - Cambridge University Press.
     
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  50.  60
    Art and Ethical Criticism.Garry L. Hagberg (ed.) - 2008 - Wiley-Blackwell.
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