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James O. Young [81]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.  30
    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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  3. The Metaphysics of Jazz.James O. Young & Carl Matheson - 2000 - Journal of Aesthetics and Art Criticism 58 (2):125-133.
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  4. 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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  5. Profound Offense and Cultural Appropriation.James O. Young - 2005 - Journal of Aesthetics and Art Criticism 63 (2):135–146.
  6. Art and Knowledge.James O. Young - 2005 - Journal of Aesthetics and Art Criticism 63 (2):198-200.
     
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  7.  11
    Empiricism and the Ontology of Jazz.James O. Young - 2018 - Revista Portuguesa de Filosofia 74 (4):1255-1266.
    This essay argues that there is no alethic basis for adopting one ontology of jazz music rather than another. Any ontology of jazz that is consistent with the available empirical evidence may be adopted, though pragmatic reasons may exist for favouring one ontology of jazz over another. There are empirical differences between jazz and much of classical music, but one may adopt the same ontology for jazz that one adopts for works classical music.
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  8.  74
    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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  9. The Poverty of Musical Ontology.James O. Young - 2014 - 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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  10.  81
    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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  11.  15
    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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  12. 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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  13. 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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  14. The Concept of Authentic Performance.James O. Young - 1988 - British Journal of Aesthetics 28 (3):228-238.
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  15.  6
    Cultural Appropriation and the Arts.James O. Young - 2009 - Journal of Aesthetics and Art Criticism 67 (2):244-245.
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  16. 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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  17.  36
    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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  18.  42
    Global Anti-Realism.James O. Young - 1987 - Philosophy and Phenomenological Research 47 (4):641-647.
  19.  70
    Destroying Works of Art.James O. Young - 1989 - Journal of Aesthetics and Art Criticism 47 (4):367-373.
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  20. Relativism, Standards and Aesthetic Judgements.James O. Young - 2009 - 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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  21.  34
    Cultures and Cultural Property.James O. Young - 2007 - Journal of Applied Philosophy 24 (2):111–124.
  22.  29
    Still More in Defense of Colorization.James O. Young - 1992 - Journal of Aesthetics and Art Criticism 50 (3):245-248.
  23.  16
    Semantic Challenges to Realism: Dummett and Putnam. [REVIEW]James O. Young - 2002 - Dialogue 41 (2):405-406.
    Semantic realism is the view that sentences can be true even if speakers cannot know that they are. Anti-realists believe that sentences cannot be true unless speakers can know that they are. The difference between the two positions can be characterized as a dispute about truth conditions. Realists believe that they are objective, that is, they can obtain even though speakers cannot know that they do. Anti-realists believe that truth conditions are always recognizable. Two major lines of argument have been (...)
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  24.  68
    Should White Men Play the Blues?James O. Young - 1994 - Journal of Value Inquiry 28 (3):415-424.
  25.  71
    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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  26. The Cognitive Value of Music.James O. Young - 1999 - Journal of Aesthetics and Art Criticism 57 (1):41-54.
  27. 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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  28.  54
    'Nothing Comes From Nowhere': Reflections on Cultural Appropriation as the Representation of Other Cultures.James O. Young & Susan Haley - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley. pp. 268.
  29.  23
    Relativism and the Evaluation of Art.James O. Young - 1997 - Journal of Aesthetic Education 31 (1):9.
  30.  56
    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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  31.  8
    Jean-Baptiste Du Bos’ Critical Reflections on Poetry and Painting and Hume’s Treatise.James O. Young & Margaret Cameron - 2018 - British Journal of Aesthetics 58 (2):119-130.
    It has long been known that Jean-Baptiste Du Bos exercised a considerable influence on Hume’s essays and, in particular, on the ‘Of the Standard of Taste’ and ‘Of Tragedy’. It has also been noted that some passages in the Treatise bear marks of Du Bos’ influence. In this essay, we identify many more passages in the Treatise that bear unmistakable signs of Du Bos’ influence. We demonstrate that Du Bos certainly had a significant impact on Hume as he wrote the (...)
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  32.  13
    In Defence of Colourization.James O. Young - 1988 - British Journal of Aesthetics 28 (4):368-372.
  33.  77
    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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  34.  78
    Art, Knowledge, and Exemplification.James O. Young - 1999 - British Journal of Aesthetics 39 (2):126-137.
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  35.  33
    The Immorality of Applied Ethics.James O. Young - 1986 - International Journal of Applied Philosophy 3 (2):37-43.
  36.  18
    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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  37.  6
    LEVINSON, JERROLD. Aesthetic Pursuits: Essays in the Philosophy of Art. Oxford University Press, 2017, 197 Pp., $55.00 Cloth. [REVIEW]James O. Young - 2018 - Journal of Aesthetics and Art Criticism 76 (2):235-237.
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  38.  69
    Artworks and Artworlds.James O. Young - 1995 - British Journal of Aesthetics 35 (4):330-337.
  39.  4
    Hick, Darren Hudson. Artistic License: The Philosophical Problems of Copyright and Appropriation. The University of Chicago Press, 2017, VIII + 231 Pp., $30.00 Paper. [REVIEW]James O. Young - 2018 - Journal of Aesthetics and Art Criticism 76 (3):362-365.
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  40. Music and the Representation of Emotion.James O. Young - 2013 - Frontiers of Philosophy in China 8 (2):332-348.
     
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  41. Authenticity in Performance.James O. Young - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  42.  53
    Aesthetic Antirealism.James O. Young - 1997 - Southern Journal of Philosophy 35 (1):119-134.
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  43.  8
    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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  44.  9
    The Metaphysics of Anti-Realism.James O. Young - 1992 - Metaphilosophy 23 (1-2):68-76.
  45.  52
    Between Rock and a Harp Place.James O. Young - 1995 - Journal of Aesthetics and Art Criticism 53 (1):78-81.
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  46.  11
    Meaning and Metaphysical Realism.James O. Young - 1988 - Philosophy 63 (243):114 - 118.
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  47.  12
    Relatively Speaking: The Coherence of Anti-Realist Relativism.James O. Young - 1986 - Canadian Journal of Philosophy 16 (3):503 - 509.
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  48.  47
    Key, Temperament and Musical Expression.James O. Young - 1991 - Journal of Aesthetics and Art Criticism 49 (3):235-242.
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  49.  17
    Inquiry in the Arts and Sciences: James O. Young.James O. Young - 1996 - 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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  50.  7
    Pragmatism and the Fate of Philosophy.James O. Young - 1984 - Dialogue 23 (4):683-686.
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