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Profile: James O. Young (University of Victoria)
  1.  26
    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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  2. 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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  3.  79
    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. 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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  5.  89
    Profound Offense and Cultural Appropriation.James O. Young - 2005 - Journal of Aesthetics and Art Criticism 63 (2):135–146.
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  6.  12
    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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  7.  97
    The Concept of Authentic Performance.James O. Young - 1988 - British Journal of Aesthetics 28 (3):228-238.
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  8. 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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  9. Dominic McIver Lopes, Sight and Sensibility: Evaluating Pictures. [REVIEW]James Young - 2006 - Philosophy in Review 26 (4):270-272.
     
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  10. 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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  11.  29
    The Counter-Monument: Memory Against Itself in Germany Today.James E. Young - 1992 - Critical Inquiry 18 (2):267-296.
    One of the contemporary results of Germany’s memorial conundrum is the rise of its “counter-monuments”: brazen, painfully self-conscious memorial spaces conceived to challenge the very premises of their being. On the former site of Hamburg’s greatest synagogue, at Bornplatz, Margrit Kahl has assembled an intricate mosaic tracing the complex lines of the synagogue’s roof construction: a palimpsest for a building and community that no longer exist. Norbert Radermacher bathes a guilty landscape in Berlin’s Neukölln neighborhood with the inscribed light of (...)
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  12.  83
    The Ontology of Musical Works: A Philosophical Pseudo-Problem.James Young - 2011 - Frontiers of Philosophy in China 6 (2):284-297.
    A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no (...)
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  13.  28
    Richard Crashaw.James A. Young - 1940 - Thought: A Journal of Philosophy 15 (3):523-524.
  14.  54
    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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  15.  23
    Contemporary Political Thinkers.James P. Young - 1987 - International Studies in Philosophy 19 (1):98-99.
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  16. The Coherence Theory of Truth.James O. Young - 2008 - Stanford Encyclopedia of Philosophy.
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  17.  1
    Global Anti-Realism.James-O. Young - 1987 - Philosophy and Phenomenological Research 47:641-647.
    DUMMETT HAS BEEN CONCERNED WITH SHOWING HOW ONE MIGHT GIVE\nAN ANTI-REALIST ACCOUNT OF RESTRICTED CLASSES OF SENTENCES.\nTHIS PAPER ARGUES THAT IT IS POSSIBLE TO GIVE AN\nANTI-REALIST ACCOUNT OF ALL CLASSES OF SENTENCES. THAT IS,\nIN THE CASE OF NO CLASSES OF SENTENCES DOES TRUTH TRANSCEND\nWHAT CAN BE WARRANTED. THE KEY TO GLOBAL ANTI-REALISM IS\nREPLACING DUMMETT'S EMPIRICISM WITH A COHERENTIST ACCOUNT\nOF WARRANT. THE AUTHOR POINTS OUT THAT COLIN McGINN'S\nARGUMENT AGAINST GLOBAL ANTI-REALISM FAILS.
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  18.  43
    Destroying Works of Art.James O. Young - 1989 - Journal of Aesthetics and Art Criticism 47 (4):367-373.
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  19.  92
    The Cognitive Value of Music.James O. Young - 1999 - Journal of Aesthetics and Art Criticism 57 (1):41-54.
  20.  77
    Toward a Received History of the Holocaust.James E. Young - 1997 - History and Theory 36 (4):21–43.
    In this article, I examine both the problem of so-called postmodern history as it relates to the Holocaust and suggest the ways that Saul Friedlander's recent work successfully mediates between the somewhat overly polemicized positions of "relativist" and "positivist" history. In this context, I find that in his search for an adequately self-reflexive historical narrative for the Holocaust, Hayden White's proposed notion of "middle-voicedness" may recommend itself more as a process for eyewitness writers than as a style for historians after (...)
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  21.  10
    Dominic McIver Lopes, Beyond Art. Reviewed By.James Young - 2016 - Philosophy in Review 36 (2):83-85.
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  22.  8
    Semantic Challenges to Realism.James O. Young - 2002 - Dialogue 41 (2):405-406.
  23.  44
    Should White Men Play the Blues?James O. Young - 1994 - Journal of Value Inquiry 28 (3):415-424.
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  24.  30
    '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.
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  25.  65
    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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  26. Henry Adams the Historian as Political Theorist.James P. Young - 2001
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  27.  14
    Still More in Defense of Colorization.James O. Young - 1992 - Journal of Aesthetics and Art Criticism 50 (3):245-248.
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  28.  66
    Art, Knowledge, and Exemplification.James O. Young - 1999 - British Journal of Aesthetics 39 (2):126-137.
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  29.  12
    Relativism and the Evaluation of Art.James O. Young - 1997 - Journal of Aesthetic Education 31 (1).
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  30.  17
    The Politics of Imperfection.James P. Young - 1981 - International Studies in Philosophy 13 (1):108-108.
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  31.  60
    Artworks and Artworlds.James O. Young - 1995 - British Journal of Aesthetics 35 (4):330-337.
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  32. Art and Knowledge.James O. Young - 2005 - Journal of Aesthetics and Art Criticism 63 (2):198-200.
     
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  33.  22
    The Immorality of Applied Ethics.James O. Young - 1986 - International Journal of Applied Philosophy 3 (2):37-43.
  34.  54
    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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  35. Music and the Representation of Emotion.James O. Young - 2013 - Frontiers of Philosophy in China 8 (2):332-348.
     
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  36. Representation in Literature.James Young - 1999 - Literature & Aesthetics 9:127-143.
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  37.  39
    Aesthetic Antirealism.James O. Young - 1997 - Southern Journal of Philosophy 35 (1):119-134.
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  38.  12
    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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  39.  24
    Marx and Mill.James P. Young - 1975 - International Studies in Philosophy 7:258-259.
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  40.  43
    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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  41.  11
    Relatively Speaking: The Coherence of Anti-Realist Relativism.James O. Young - 1986 - Canadian Journal of Philosophy 16 (3):503 - 509.
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  42.  39
    Key, Temperament and Musical Expression.James O. Young - 1991 - Journal of Aesthetics and Art Criticism 49 (3):235-242.
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  43.  36
    Between Rock and a Harp Place.James O. Young - 1995 - Journal of Aesthetics and Art Criticism 53 (1):78-81.
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  44.  9
    Public Life and Late Capitalism.James P. Young - 1989 - International Studies in Philosophy 21 (3):124-125.
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  45.  8
    In Defence of Colourization.James O. Young - 1988 - British Journal of Aesthetics 28 (4):368-372.
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  46.  7
    Meaning and Metaphysical Realism.James O. Young - 1988 - Philosophy 63 (243):114 - 118.
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  47.  12
    Philosophy, “The Federalist,” and the Constitution.James P. Young - 1992 - International Studies in Philosophy 24 (1):150-150.
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  48.  29
    Global Anti-Realism.James O. Young - 1987 - Philosophy and Phenomenological Research 47 (4):641-647.
  49.  29
    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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  50.  14
    Reality and Reason.James O. Young - 1987 - Canadian Journal of Philosophy 17 (2):491-500.
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