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James R. Hamilton [25]James Raleigh Hamilton [1]
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James Hamilton
Kansas State University
  1.  46
    The Art of Theater.James R. Hamilton - 2007 - Wiley-Blackwell.
    _The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.
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  2.  47
    Musical Noise.James R. Hamilton - 1999 - British Journal of Aesthetics 39 (4):350-363.
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  3.  4
    Role Playing and Identity: The Limits of Theatre as Metaphor.James R. Hamilton - 1982 - Journal of Aesthetics and Art Criticism 42 (3):337-339.
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  4.  45
    Pretense and Display Theories of Theatrical Performance.James R. Hamilton - 2009 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu (4):632-654.
    A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.
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  5. Bertolt Brecht.James R. Hamilton - 1998 - In M. Kelly (ed.), Oxford Encyclopedia of Aesthetics. Oxford University Press.
    Describes the life and influence of B. Brecht. Offers useful explanations of several key concepts Brecht employed, and revised over his career, including: gestus, Verfremdung, and Verfremdungseffekt.
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  6.  17
    Theatrical Performance and Interpretation.James R. Hamilton - 2001 - Journal of Aesthetics and Art Criticism 59 (3):307–312.
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  7.  13
    "Illusion" and the Distrust of Theater.James R. Hamilton - 1982 - Journal of Aesthetics and Art Criticism 41 (1):39-50.
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  8.  31
    Notes on the Experience of Tragedy.James R. Hamilton - 2014 - British Journal of Aesthetics 54 (2):255-265.
    Gregory Currie offers a statement of an interesting problem about tragedy: ‘(1) We want the fiction be such that something, E, occurs in it; [yet] (2) we react in ways which make it tempting to say we want E not to occur.’ He argues for one way to make (2) more precise with regard to what it is we are tempted to say. I argue he should not so readily have accepted (1). More significantly, however, I argue both that Currie (...)
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  9. Theater.James R. Hamilton - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  10.  19
    Acts: Theater, Philosophy, and the Performing Self.James R. Hamilton - 2015 - Philosophical Quarterly 65 (261):856-859.
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  11.  8
    Kivy, Peter. Once‐Told Tales: An Essay in Literary Aesthetics. Chichester, UK: Wiley‐Blackwell, 2011, Viii + 202 Pp., $104.95 Cloth. [REVIEW]James R. Hamilton - 2013 - Journal of Aesthetics and Art Criticism 71 (2):211-212.
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  12.  29
    Replies to Criticisms.James R. Hamilton - 2009 - Journal of Aesthetic Education 43 (3):pp. 80-106.
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  13.  20
    Theatrical Enactment.James R. Hamilton - 2000 - Journal of Aesthetics and Art Criticism 58 (1):23-35.
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  14.  18
    The Art of Theater —a Précis.James R. Hamilton - 2009 - Journal of Aesthetic Education 43 (3):pp. 4-14.
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  15.  8
    Meeting Hedda Gabler.James R. Hamilton - 2012 - Revue Internationale de Philosophie 262 (4):493-517.
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  16.  6
    Martin Puchner , The Theater of Ideas: Platonic Provocations in Theater and Philosophy . Reviewed By.James R. Hamilton - 2012 - Philosophy in Review 32 (4):326-329.
  17.  1
    Aesthetic and Artistic Verdicts.James R. Hamilton - 2019 - Croatian Journal of Philosophy 19 (2):217-232.
    In this article I propose a way of thinking about aesthetic and artistic verdicts that would keep them distinct from one another. The former are reflections of the kinds of things we prefer and take pleasure in; the latter are reflections of other judgments we make about the kinds of achievements that are made in works of art. In part to support this view of verdicts, I also propose a way of keeping distinct the description, the interpretation, and the evaluation (...)
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  18.  10
    What If There Were a Religious "Form of Life"?James R. Hamilton - 1979 - Philosophical Investigations 2 (3):1-17.
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  19.  7
    The Senses in Performance Edited by Banes, Sally and André Lepecki.James R. Hamilton - 2009 - Journal of Aesthetics and Art Criticism 67 (2):258-261.
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  20. Drama.James R. Hamilton - 2009 - In Higgins Davies (ed.), Blackwell Companion to Aesthetics.
    Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.
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  21. Handke's Kaspar, Wittgenstein's Tractatus, and the Successful Representation of Alienation.James R. Hamilton - 1995 - Journal of Dramatic Theory and Criticism 9 (2):3-26.
    An investigation of Handke's play by means of an analysis of the elements of the Tractatus, known to have influenced Handke at the time he wrote Kaspar. This approach yields a much more plausible account of Handke's representation of his central character's alienation than are available from now-standard semiotic and post-structuralist analyses.
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  22. Narrative, Fiction, Imagination.James R. Hamilton - 2010 - In Pokorny Kotatko (ed.), Fictionality-Possibility-Reality.
    Hamilton argues that narratives engage our imaginations not so much by having us pretend the events they depict are true or present as by having us engage in a kind of anticipation of events to come. The idea is that the grasp of a narratively structured presentation is explained in very much the same way any sequence of events, considered as a sequence, is grasped.
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  23. Readings for an Introduction to Philosophy.James R. Hamilton, Charles E. Reagan & Benjamin R. Tilghman - 1976 - Macmillan.
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  24. Theatrical Space.James R. Hamilton - 2007 - Journal of Dramatic Theory and Criticism 31 (2):21-47.
    Hamilton shows how awareness of the uses of space -- in particular uses of space in which to stage an event of any kind -- enable spectators to pick out characters, props, and the like across performances within production runs, across production runs, and even across productions employing different scripts. The key ideas of object identification are taken both from the philosophical and the empirical literature and are treated as epistemic ideas rather than metaphysical conceptions.
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  25. Understanding Plays.James R. Hamilton - 2006 - In Saltz Krasner (ed.), Staging Philosophy.
    Hamilton argues that there is a level of understanding of theatrical performances, and narrative performances in particular (called "plays"), that does not require grasp of the large-scale aesthetic features that usually inform the structure of what is presented. This "basic understanding" is required for any spectator to go on to have a deeper understanding and, so, grounds any spectator's understanding of the larger-scale features of a performance.
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