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James O. Young [85]James Orvil Young [1]
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James O. Young
University of Victoria
  1. The Coherence Theory of Truth.James O. Young - 2008 - Stanford Encyclopedia of Philosophy.
  2. Cultural Appropriation and the Arts.James O. Young - 2008 - Wiley-Blackwell.
    Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically (...)
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  3.  13
    Kant's Musical Antiformalism.James O. Young - 2020 - Journal of Aesthetics and Art Criticism 78 (2):171-182.
  4. The Ethics of Cultural Appropriation.James O. Young & Conrad G. Brunk (eds.) - 2009 - Wiley-Blackwell.
    _The Ethics of Cultural Appropriation_ undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation. Explores cultural appropriation in a wide variety of contexts, among them the arts and archaeology, museums, and religion Questions whether cultural appropriation is always morally objectionable Includes research that is equally informed by empirical knowledge and general normative theory Provides a coherent and authoritative perspective gained by the collaboration of philosophers and specialists in the field (...)
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  5. Profound Offense and Cultural Appropriation.James O. Young - 2005 - Journal of Aesthetics and Art Criticism 63 (2):135–146.
  6.  21
    The Ancient and Modern System of the Arts.James O. Young - 2015 - British Journal of Aesthetics 55 (1):1-17.
    Paul Oskar Kristeller famously argued that the modern ‘ system of the arts ’ did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts : poetry, painting, music, sculpture, and dance. Writers (...)
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  7. Do Subaltern Artifacts Belong in Art Museums?Ivan Gaskell, A. W. Eaton, James O. Young & Conrad Brunk - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
     
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  8. The Metaphysics of Jazz.James O. Young & Carl Matheson - 2000 - Journal of Aesthetics and Art Criticism 58 (2):125-133.
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  9. The Concept of Authentic Performance.James O. Young - 1988 - British Journal of Aesthetics 28 (3):228-238.
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  10. Art and Knowledge.James O. Young - 2005 - Journal of Aesthetics and Art Criticism 63 (2):198-200.
     
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  11.  24
    Critique of Pure Music.James O. Young - 2014 - Oxford University Press.
    James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.
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  12.  87
    Art and Knowledge.James O. Young - 2001 - Routledge.
    Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...)
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  13.  40
    Cultures and Cultural Property.James O. Young - 2007 - Journal of Applied Philosophy 24 (2):111–124.
  14. A Defence of the Coherence Theory of Truth.James O. Young - 2001 - Journal of Philosophical Research 26 (1):89--101.
    Recent critics of the coherence theory of truth (notably Ralph Walker) have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere (the specified system). Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, (...)
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  15.  3
    Philosophical Perspectives on Music.James O. Young - 1999 - Journal of Aesthetics and Art Criticism 57 (1):75-76.
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  16.  74
    Destroying Works of Art.James O. Young - 1989 - Journal of Aesthetics and Art Criticism 47 (4):367-373.
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  17.  48
    Global Anti-Realism.James O. Young - 1987 - Philosophy and Phenomenological Research 47 (4):641-647.
  18.  88
    Should White Men Play the Blues?James O. Young - 1994 - Journal of Value Inquiry 28 (3):415-424.
  19. Art, Authenticity and Appropriation.James O. Young - 2006 - Frontiers of Philosophy in China 1 (3):455-476.
    It is often suggested that artists from one culture (outsiders) cannot successfully employ styles, stories, motifs and other artistic content developed in the context of another culture. I call this suggestion the aesthetic handicap thesis and argue against it. Cultural appropriation can result in works of high aesthetic value.
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  20. The Slingshot Argument and the Correspondence Theory of Truth.James O. Young - 2002 - Acta Analytica 17 (2):121-132.
    The correspondence theory of truth holds that each true sentence corresponds to a discrete fact. Donald Davidson and others have argued (using an argument that has come to be known as the slingshot) that this theory is mistaken, since all true sentences correspond to the same “Great Fact.” The argument is designed to show that by substituting logically equivalent sentences and coreferring terms for each other in the context of sentences of the form ‘P corresponds to the fact that P’ (...)
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  21.  86
    Resemblance, Convention, and Musical Expressiveness.James O. Young - 2012 - The Monist 95 (4):587-605.
    Peter Kivy and Stephen Davies developed an influential and convincing account of what features of music cause listeners to hear it as expressive of emotion. Their view (the resemblance theory) holds that music is expressive of some emotion when it resembles human expressive behaviour. Some features of music, they believe, are expressive of emotion because of conventional associations. In recent years, Kivy has rejected the resemblance theory without adopting an alternative. This essay argues that Kivy has been unwise to abandon (...)
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  22.  43
    The ‘Great Divide’ in Music.James O. Young - 2005 - British Journal of Aesthetics 45 (2):175-184.
    Several prominent philosophers of music, including Lydia Goehr and Peter Kivy, maintain that the experience of music changed drastically in about 1800. According to the great divide hypothesis, prior to 1800 audiences often scarcely attended to music. At other times, music was appreciated as part of social, civic, or religious ceremonies. After the great divide, audiences began to appreciate music as an exclusive object of aesthetic experience. The great divide hypothesis is false. The musicological record reveals that prior to the (...)
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  23. Truth, Correspondence and Deflationism.James O. Young - 2009 - Frontiers of Philosophy in China 4 (4):563-575.
    The central claim of this essay is that many deflationary theories of truth are variants of the correspondence theory of truth. Essential to the correspondence theory of truth is the proposal that objective features of the world are the truthmakers of statements. Many advocates of deflationary theories (including F. P. Ramsay, P. F. Strawson and Paul Horwich) remain committed to this proposal. Although T-sentences (statements of the form “ s is true iff p ”) are presented by advocates of deflationary (...)
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  24.  14
    Relatively Speaking: The Coherence of Anti-Realist Relativism.James O. Young - 1986 - Canadian Journal of Philosophy 16 (3):503 - 509.
    The current debate between realists and anti-realists has brought to the fore some ancient questions about the coherence of relativism. Realism is the doctrine according to which the truth of sentences is determined by the way things really are. Truth is thus the result of a relation between sentences and reality. One species of anti-realism holds, on the contrary, the truth results from a relation between sentences within a theory: a sentence is true if warranted by a correct theory.
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  25.  29
    A Defence of the Coherence Theory of Truth.James O. Young - 2001 - Journal of Philosophical Research 26:89-101.
    Recent critics of the coherence theory of truth have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere. Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, not because they cohere with a (...)
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  26.  64
    Coherence, Anti-Realism and the Vienna Circle.James O. Young - 1991 - Synthese 86 (3):467 - 482.
    Some members of the Vienna Circle argued for a coherence theory of truth. Their coherentism is immune to standard objections. Most versions of coherentism are unable to show why a sentence cannot be true even though it fails to cohere with a system of beliefs. That is, it seems that truth may transcend what we can be warranted in believing. If so, truth cannot consist in coherence with a system of beliefs. The Vienna Circle's coherentists held, first, that sentences are (...)
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  27.  57
    Between Rock and a Harp Place.James O. Young - 1995 - Journal of Aesthetics and Art Criticism 53 (1):78-81.
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  28.  34
    The Immorality of Applied Ethics.James O. Young - 1986 - International Journal of Applied Philosophy 3 (2):37-43.
  29.  14
    In Defence of Colourization.James O. Young - 1988 - British Journal of Aesthetics 28 (4):368-372.
  30.  13
    'The Skin Off Our Backs' Appropriation of Religion.Conrad G. Brunk & James O. Young - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley. pp. 93.
  31. The Cognitive Value of Music.James O. Young - 1999 - Journal of Aesthetics and Art Criticism 57 (1):41-54.
  32.  69
    Artworks and Artworlds.James O. Young - 1995 - British Journal of Aesthetics 35 (4):330-337.
  33.  27
    Relativism and the Evaluation of Art.James O. Young - 1997 - Journal of Aesthetic Education 31 (1):9.
  34.  14
    The Metaphysics of Anti-Realism.James O. Young - 1992 - Metaphilosophy 23 (1-2):68-76.
  35.  11
    Meaning and Metaphysical Realism.James O. Young - 1988 - Philosophy 63 (243):114 - 118.
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  36.  9
    The World We Found: The Limits of Ontological Talk Mark Sacks La Salle, IL: Open Court, 1989, X + 198 P.James O. Young - 1992 - Dialogue 31 (1):124-.
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  37.  8
    Pragmatism and the Fate of Philosophy.James O. Young - 1984 - Dialogue 23 (4):683-686.
  38.  15
    Inquiry in the Arts and Sciences.James O. Young - 1996 - Philosophy 71 (276):255 - 273.
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  39.  15
    Relativism and Anti-Realism.James O. Young - 1996 - Ratio 9 (1):68-77.
  40. Authenticities: Philosophical Reflections on Musical Performance.James O. Young - 1995 - Journal of Aesthetics and Art Criticism 54 (2):198-200.
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  41. The Buck Passing Theory of Art.James O. Young - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (4): 421-433.
    In Beyond Art (2014), Dominic Lopes proposed a new theory of art, the buck passing theory. Rather than attempting to define art in terms of exhibited or genetic featured shared by all artworks, Lopes passes the buck to theories of individual arts. He proposes that we seek theories of music, painting, poetry, and other arts. Once we have these theories, we know everything there is to know about the theory of art. This essay presents two challenges to the theory. First, (...)
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  42.  60
    Aesthetic Antirealism.James O. Young - 1997 - Southern Journal of Philosophy 35 (1):119-134.
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  43.  88
    Art and the Educated Audience.James O. Young - 2010 - Journal of Aesthetic Education 44 (3):29-42.
    When writing about art, aestheticians tend to focus on the work of art and on the artist who produces it. When they refer to audiences, they typically speak only of the effect that the artwork has on its audience. Aestheticians pay little, if any, attention to the important active role that an audience plays in the workings of a healthy art world. My goal in this essay is to do something to end the neglect of the audience. I will focus (...)
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  44. Art and the Educated Audience.James O. Young - 2010 - Journal of Aesthetic Education 44 (3):29.
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  45. Aesthetics Critical Concepts in Philosophy.James O. Young - 2005
     
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  46. Authenticity in Performance.James O. Young - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  47.  84
    Art, Knowledge, and Exemplification.James O. Young - 1999 - British Journal of Aesthetics 39 (2):126-137.
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  48. Berys Gaut and Paisley Livingston, Eds., The Creation of Art: New Essays in Philosophical Aesthetics Reviewed By.James O. Young - 2004 - Philosophy in Review 24 (2):107-109.
     
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  49.  17
    Bonds, Mark Evan. Absolute Music: The History of an Idea. Oxford University Press, 2014, XIII + 375 Pp., $35.00 Cloth. [REVIEW]James O. Young - 2015 - Journal of Aesthetics and Art Criticism 73 (2):207-208.
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  50. Batteux: The Fine Arts Reduced to a Single Principle.James O. Young - 2015 - Oxford University Press UK.
    The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century, and is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has never been a complete or (...)
     
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