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James R. Hamilton [40]James Raleigh Hamilton [1]
  1.  71
    The Art of Theater.James R. Hamilton (ed.) - 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.  24
    “Illusion” and The Distrust of Theater.James R. Hamilton - 1982 - Journal of Aesthetics and Art Criticism 41 (1):39-50.
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  3.  8
    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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  4.  48
    Acts: Theater, Philosophy, and the Performing Self.James R. Hamilton - 2015 - Philosophical Quarterly 65 (261):856-859.
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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.  5
    Basic Theatrical Understanding.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 71–90.
    This chapter contains section titled: Minimal General Success Conditions for Basic Theatrical Understanding Physical and Affective Responses of Audiences as Non‐Discursive Evidence of Understanding The Success Conditions for Basic Theatrical Understanding Met by Moment‐to‐moment Apprehension of Performances “Immediate Objects,” “Developed Objects,” and “Cogency” Objects of Understanding having Complex Structures Generalizing Beyond Plays The Problem of “Cognitive Uniformity”.
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  7. 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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  8.  8
    Deeper Theatrical Understanding.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 135–147.
    This chapter contains section titled: General Success Conditions for Deeper Theatrical Understanding More Precise Success Conditions: Two Kinds of Deeper Understanding Some Puzzles about the Relation between Understanding What is Performed and Understanding How it is Performed Deeper Theatrical Understanding and Full Appreciation of a Theatrical Performance.
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  9. Epilogue.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 199–213.
    This chapter contains section titled: The Idea of a Tradition and Tradition‐Defining Constraints Constraints Derived from Origins in Written Texts What Really Constrains Performances in the Text‐Based Tradition The Myth of “Of”.
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  10.  6
    Full Appreciation of a Theatrical Performance.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 181–198.
    This chapter contains section titled: The Case of the Culturally Lethargic Company Broader Implications of the CLC Problem The “Imputationalist” Solution Solving the CLC Problem without Resorting to Imputationalism Full Appreciation of a Theatrical Performance and the Detection of Theatrical Failures.
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  11. Glossary.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 214–221.
    This chapter contains section titled: Idealized Cases Models of the Text‐Performance Relation Definitions of Terms Used to Describe What Spectators Do Definitions of Terms Used to Describe What Performers Do Counterfactual Conditionals Demonstrative and Recognition‐Based Identification Feature‐salience Model Metaphysical Realism Necessary and Sufficient Conditions Ontology, Metaphysics, Epistemology Note.
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  12. 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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  13.  5
    Interpretive Grasp of Theatrical Performances.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 167–180.
    This chapter contains section titled: Success Conditions for Interpreting what is Performed and Interpreting how it is Performed Eschewing Theories of “Work Meaning” Interpretation and Significance Interpreting Performers.
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  14.  4
    Index.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 222–226.
    This chapter contains section titled: Identifying Characters, Events, and Other Objects in Narrative Performances Re‐Identification of Characters and Other Objects in Narrative Performances The Special Nature of Theatrical (Uses of) Space: Performances and Performance Space Cross‐Performance Re‐Identification Identifying and Re‐Identifying Objects in Non‐Narrative Performances Added Benefits of the Demonstrative and Recognition based Approach to Identification and Re‐Identification Theatrical Performance as a Fully Independent Practice.
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  15.  4
    Methods and Constraints.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 41–57.
    This chapter contains section titled: Idealized Cases that Help Focus on Features Needing Analysis Three General Facts about Theatrical Performances and the Constraints They Impose on any Successful Account of Theatrical Performances.
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  16.  22
    Meeting Hedda Gabler.James R. Hamilton - 2012 - Revue Internationale de Philosophie 262 (4):493-517.
    A key epistemic puzzle about theatrical performances of fictional narratives has to do with how spectators pick out and recognize the characters they encounter. An adequate solution to the puzzle is constrained by several factors : it should be similar to what we need to say about picking out and recognition of characters in non-fictional narratives ; it should be similar to what we need to say about picking out and recognizing elements in non-narrative performances ; it be it must (...)
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  17.  73
    Musical noise.James R. Hamilton - 1999 - British Journal of Aesthetics 39 (4):350-363.
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  18.  12
    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.
  19. 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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  20.  40
    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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  21.  75
    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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  22.  11
    Readings for an Introduction to Philosophy.James R. Hamilton, Charles E. Reagan & Benjamin R. Tilghman - 1976 - MacMillan Publishing Company.
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  23.  50
    Replies to criticisms.James R. Hamilton - 2009 - Journal of Aesthetic Education 43 (3):pp. 80-106.
    In lieu of an abstract, here is a brief excerpt of the content:Replies to CriticismsJames R. HamiltonI am grateful to Noël Carroll, David Davies, Sherri Irvin, Aaron Meskin, and Paul Thom for stimulating discussions of The Art of Theater over the past year, culminating in these carefully crafted critical comments on various aspects of the book.1 I especially appreciate the efforts of Sherri Irvin, who edited this special issue and without whose encouragement, enthusiasm, and careful editing this would not have (...)
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  24. Theater.James R. Hamilton - 2000 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  25.  33
    The art of theater —a précis.James R. Hamilton - 2009 - Journal of Aesthetic Education 43 (3):pp. 4-14.
    In lieu of an abstract, here is a brief excerpt of the content:The Art of Theater—A PrécisJames R. Hamilton (bio)In The Art of Theater I propose and explain a claim that many theater people hold true in some form but, so far as I can tell, have defended in a manner that has had almost no success outside discussions among themselves.1 The claim proposed is that, in an unqualified way, theater is a form of art. By that I mean theatrical (...)
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  26.  25
    Theatrical enactment.James R. Hamilton - 2000 - Journal of Aesthetics and Art Criticism 58 (1):23-35.
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  27.  3
    The Emergence of the Art of Theater: Background and History.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 1–22.
    This chapter contains section titled: The Backstory: 1850s to 1950s The Decisive Influences: Brecht, Artaud, Grotowski The Decisive Years: 1961 to 1985 The Final Threads: Absorption of New Practices into the Profession and the Academy.
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  28.  7
    Theatrical Enactment: The Guiding Intuitions.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 58–69.
    This chapter contains section titled: Enactment: Something Spectators and Performers do The Crucial Concept: “Attending to Another” What it is to “Occasion” Responses Audience Responses: Willing Suspension of Disbelief, Acquired Beliefs, or Acquired Abilities Relativizing the Account by Narrowing its Scope to Narrative Performances.
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  29.  4
    The Mechanics of Basic Theatrical Understanding.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 91–113.
    This chapter contains section titled: The “Feature‐Salience” Model of Spectator Convergence on the Same Characteristics What it is to Respond to a Feature as Salient for Some Characteristics or a Set of Facts A Thin Common Knowledge Requirement A Plausibly Thickened Common Knowledge Requirement The Feature‐Salience Model, “Reader‐Response Theory,” and “Intentionalism” Generalizing the Salience Mechanism to Encompass Non‐Narrative Performances Some Important Benefits of the Feature‐Salience Model: Double‐Focus, Slippage, “Performer Power, ” “Character Power, ” and the Materiality of the Means of (...)
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  30.  25
    Theatrical performance and interpretation.James R. Hamilton - 2001 - Journal of Aesthetics and Art Criticism 59 (3):307–312.
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  31.  6
    Theatrical Performance is an Independent Form of Art.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 23–40.
    This chapter contains section titled: Theatrical Performance as Radically Independent of Literature Theatrical Performance as a Form of Art.
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  32.  17
    The Routledge Companion to Performance Philosophy.James R. Hamilton - forthcoming - Journal of Aesthetics and Art Criticism.
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  33. 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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  34.  10
    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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  35. 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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  36.  7
    What Performers Do.James R. Hamilton - 2007 - In The Art of Theater. Oxford, UK: Blackwell. pp. 148–166.
    This chapter contains section titled: What Performers do and what Audiences can Know The Features of Performers and Choices that Performers Make Theatrical Conventions as Sequences of Features Having Specific “Weight” What is Involved in Reference to Theatrical Styles More about Styles, as Produced and as Grasped Grasp of Theatrical Style and Deeper Theatrical Understanding.
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  37.  16
    What if there were a religious "form of life"?James R. Hamilton - 1979 - Philosophical Investigations 2 (3):1-17.
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  38.  11
    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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  39.  17
    Maoilearca Ó., Cull Laura and Lagaay Alice, eds., The Routledge Companion to Performance Philosophy (Routledge, 2020), xxv + 463 pp., 36 b&w illus., $236.64 cloth. [REVIEW]James R. Hamilton - 2021 - Journal of Aesthetics and Art Criticism 79 (1):130-133.
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