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James O. Young [72]James Orvil Young [1]
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Profile: James O. Young (University of Victoria)
  1. James O. Young (2014). The Poverty of Musical Ontology. Journal of Music and Meaning 13:1-19.
    Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological judgments are (...)
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  2.  68
    James O. Young & Carl Matheson (2000). The Metaphysics of Jazz. Journal of Aesthetics and Art Criticism 58 (2):125-133.
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  3.  12
    Ivan Gaskell, A. W. Eaton, James O. Young & Conrad Brunk (2009). Do Subaltern Artifacts Belong in Art Museums? In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
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  4. James O. Young (2009). Truth, Correspondence and Deflationism. 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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  5.  96
    James O. Young (1988). The Concept of Authentic Performance. British Journal of Aesthetics 28 (3):228-238.
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  6.  76
    James O. Young (2005). Profound Offense and Cultural Appropriation. Journal of Aesthetics and Art Criticism 63 (2):135–146.
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  7. James O. Young (2002). The Slingshot Argument and the Correspondence Theory of Truth. 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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  8.  2
    James O. Young (2016). The Buck Passing Theory of Art. 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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  9. James O. Young (2009). Relativism, Standards and Aesthetic Judgements. International Journal of Philosophical Studies 17 (2):221 – 231.
    This paper explores the various available forms of relativism concerning aesthetic judgement and contrasts them with aesthetic absolutism. Two important distinctions are drawn. The first is between subjectivism (which relativizes judgements to an individual's sentiments or feelings) and the relativization of aesthetic judgements to intersubjective standards. The other is between relativism about aesthetic properties and relativism about the truth-values of aesthetic judgements. Several plausible forms of relativism about aesthetic properties are on offer, but relativism about the truth-values of aesthetic judgements (...)
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  10.  51
    James O. Young (2012). Resemblance, Convention, and Musical Expressiveness. 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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  11.  43
    James O. Young (1989). Destroying Works of Art. Journal of Aesthetics and Art Criticism 47 (4):367-373.
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  12.  8
    James O. Young (2002). Semantic Challenges to Realism. Dialogue 41 (2):405-406.
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  13. James O. Young (2008). The Coherence Theory of Truth. Stanford Encyclopedia of Philosophy.
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  14.  90
    James O. Young (1999). The Cognitive Value of Music. Journal of Aesthetics and Art Criticism 57 (1):41-54.
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  15.  14
    James O. Young (1992). Still More in Defense of Colorization. Journal of Aesthetics and Art Criticism 50 (3):245-248.
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  16.  41
    James O. Young (1994). Should White Men Play the Blues? Journal of Value Inquiry 28 (3):415-424.
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  17.  65
    James O. Young (2010). Art and the Educated Audience. 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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  18.  66
    James O. Young (1999). Art, Knowledge, and Exemplification. British Journal of Aesthetics 39 (2):126-137.
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  19.  10
    James O. Young (1997). Relativism and the Evaluation of Art. Journal of Aesthetic Education 31 (1).
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  20.  22
    James O. Young (1986). The Immorality of Applied Ethics. International Journal of Applied Philosophy 3 (2):37-43.
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  21.  60
    James O. Young (1995). Artworks and Artworlds. British Journal of Aesthetics 35 (4):330-337.
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  22.  21
    James O. Young & Susan Haley (2009). 'Nothing Comes From Nowhere': Reflections on Cultural Appropriation as the Representation of Other Cultures. In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley. pp. 268.
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  23.  12
    James O. Young (2015). The Ancient and Modern System of the Arts. 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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  24. James O. Young (2013). Music and the Representation of Emotion. Frontiers of Philosophy in China 8 (2):332-348.
     
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  25.  49
    James O. Young (2006). Art, Authenticity and Appropriation. 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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  26.  36
    James O. Young (1997). Aesthetic Antirealism. Southern Journal of Philosophy 35 (1):119-134.
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  27.  11
    James O. Young (1986). Relatively Speaking: The Coherence of Anti-Realist Relativism. Canadian Journal of Philosophy 16 (3):503 - 509.
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  28.  43
    James O. Young (1991). Coherence, Anti-Realism and the Vienna Circle. 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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  29.  7
    James O. Young (1988). Meaning and Metaphysical Realism. Philosophy 63 (243):114 - 118.
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  30.  39
    James O. Young (1991). Key, Temperament and Musical Expression. Journal of Aesthetics and Art Criticism 49 (3):235-242.
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  31.  36
    James O. Young (1995). Between Rock and a Harp Place. Journal of Aesthetics and Art Criticism 53 (1):78-81.
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  32.  7
    James O. Young (1988). In Defence of Colourization. British Journal of Aesthetics 28 (4):368-372.
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  33. James O. Young (1992). "The World We Found: The Limits of Ontological Talk", by Mark Sacks. [REVIEW] Dialogue 31:124.
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  34.  29
    James O. Young (1987). Global Anti-Realism. Philosophy and Phenomenological Research 47 (4):641-647.
  35.  12
    James O. Young (1995). Questioning Foundations: Truth, Subjectivity, and Culture. History of European Ideas 21 (5):718-719.
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  36.  29
    James O. Young (2005). The ‘Great Divide’ in Music. 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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  37.  13
    James O. Young (1987). Reality and Reason. Canadian Journal of Philosophy 17 (2):491-500.
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  38.  2
    James O. Young (1987). Critical Notice. Canadian Journal of Philosophy 17 (2):491-500.
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  39.  11
    James O. Young (2003). Singer, Irving. Feeling and Imagination: The Vibrant Flux of Our Existence. Review of Metaphysics 57 (1):180-181.
  40.  21
    James O. Young (2007). Cultures and Cultural Property. Journal of Applied Philosophy 24 (2):111–124.
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  41.  7
    James O. Young (2014). Mag Uidhir, Christy, Ed. Art and Abstract Objects. Oxford University Press, Viii + 310 Pp., $75.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 72 (2):218-220.
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  42.  14
    James O. Young (1996). Inquiry in the Arts and Sciences. Philosophy 71 (276):255 - 273.
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  43.  13
    James O. Young (2010). Review of Noël Carroll, Art in Three Dimensions. [REVIEW] Notre Dame Philosophical Reviews 2010 (12).
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  44.  15
    James O. Young (1992). Holism and Meaning. Erkenntnis 37 (3):309 - 325.
  45. James O. Young (2006). Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art Reviewed By. Philosophy in Review 26 (5):374-376.
     
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  46.  2
    James O. Young (1988). E. Lepore : "Truth and Interpretation: Perspectives on the Philosophy of Donald Davidson". [REVIEW] Australasian Journal of Philosophy 66:249.
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  47.  2
    James O. Young (1996). Inquiry in the Arts and Sciences: James O. Young. Philosophy 71 (276):255-273.
    In his 1836 lectures to the Royal Institute, the great landscape painter John Constable stated that ‘Painting is a science, and should be pursued as an inquiry into the laws of nature.’ Landscape, he went on to say, should ‘be considered a branch of natural philosophy, of which pictures are but the experiments.’ 1 Constable makes two claims in this striking passage. The first is that painting is a form of inquiry. This is, by itself, a bold claim, but Constable (...)
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  48.  2
    James O. Young (2015). Bonds, Mark Evan. Absolute Music: The History of an Idea. Oxford University Press, 2014, XIII + 375 Pp., $35.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):207-208.
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  49.  8
    James O. Young (1996). Relativism and Anti-Realism. Ratio 9 (1):68-77.
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  50.  9
    James O. Young (1997). Defining Art Responsibly. British Journal of Aesthetics 37 (1):57-65.
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