38 found
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  1. Love, Beauty, and Yeats's "Anne Gregory".Jeanette Bicknell - 2010 - Philosophy and Literature 34 (2):348-358.
    So begins "For Anne Gregory," published by W. B. Yeats in 1933. It is surely one of his most charming poems.1 The poem's lilting rhythm and affectionate tone effectively soften—even disguise—what is arguably a dark and dismaying message. Anne is destined to be loved not for herself alone, but for an accidental physical attribute—her blond hair. Why do I claim that the poem's message is dark? Why should it dismay Anne if she is loved for the beauty of her hair? (...)
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  2.  7
    Groove: A Phenomenology of Rhythmic Nuance.Jeanette Bicknell - 2016 - British Journal of Aesthetics 56 (4):429-431.
    Groove: A Phenomenology of Rhythmic NuanceRoholtTiger C.bloomsbury. 2014. pp. 192. £17.99.
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  3.  96
    What Do Artists Know?Jeanette Bicknell - 2014 - British Journal of Aesthetics 54 (1):102-104.
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  4. Self-Knowledge and the Limitations of Narrative.Jeanette Bicknell - 2004 - Philosophy and Literature 28 (2):406-416.
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  5.  51
    What Is Offensive About Offensive Jokes?Jeanette Bicknell - 2007 - Philosophy Today 51 (4):458-465.
  6.  43
    Not Moderately Moral: Why Hume Is Not a "Moderate Moralist".E. M. Dadlez & Jeanette Bicknell - 2013 - Philosophy and Literature 37 (2):330-342.
    If philosophers held popularity contests, David Hume would be a perennial winner. Witty, a bon vivant, and champion of reason over bigotry and superstition, it is not surprising that many contemporary thinkers want to recruit him as an ally or claim his views as precursors to their own. In the debate over the moral content of artworks and its possible relevance for artistic and aesthetic value, the group whose views are known variously as “ethicism,” “moralism,” or “moderate moralism” has claimed (...)
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  7.  92
    Explaining Strong Emotional Responses to Music:.Jeanette Bicknell - 2007 - Journal of Consciousness Studies 14 (12):5-23.
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  8.  35
    Explaining Strong Emotional Responses to Music.Jeanette Bicknell - 2007 - Journal of Consciousness Studies 14 (12):5-23.
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  9.  18
    Music, Listeners, and Moral Awareness.Jeanette Bicknell - 2001 - Philosophy Today 45 (3):266-274.
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  10.  11
    Architectural Ghosts.Jeanette Bicknell - 2014 - Journal of Aesthetics and Art Criticism 72 (4):435-441.
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  11.  33
    Just a Song? Exploring the Aesthetics of Popular Song Performance.Jeanette Bicknell - 2005 - Journal of Aesthetics and Art Criticism 63 (3):261–270.
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  12.  25
    The Problem of Reference in Musical Quotation: A Phenomenological Approach.Jeanette Bicknell - 2001 - Journal of Aesthetics and Art Criticism 59 (2):185–191.
  13.  9
    Self-Righteousness as a Moral Problem.Jeanette Bicknell - 2010 - Journal of Value Inquiry 44 (4):477-487.
  14.  19
    Descartes's Rhetoric: Roads, Foundations, and Difficulties in the Method.Jeanette Bicknell - 2003 - Philosophy and Rhetoric 36 (1):22-38.
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  15.  14
    Reflections on “John Henry”: Ethical Issues in Singing Performance.Jeanette Bicknell - 2009 - Journal of Aesthetics and Art Criticism 67 (2):173-180.
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  16. Aaron Ridley, The Philosophy of Music: Theme and Variations Reviewed By.Jeanette Bicknell - 2005 - Philosophy in Review 25 (3):210-212.
     
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  17.  5
    Scruton on Understanding Music.Jeanette Bicknell - 2002 - Nordic Journal of Aesthetics 14 (25-26).
  18. Jerrold Levinson, Music in the Moment Reviewed By.Jeanette Bicknell - 1999 - Philosophy in Review 19 (3):205-207.
     
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  19.  8
    Call for Papers Song, Songs, and Singing.Jeanette Bicknell & John Andrew Fisher - 2011 - Journal of Aesthetics and Art Criticism 69 (4):vii-vii.
  20.  10
    Can Music Convey Semantic Content? A Kantian Approach.Jeanette Bicknell - 2002 - Journal of Aesthetics and Art Criticism 60 (3):253–261.
  21.  2
    Notes On.Bruce Ellis Benson, Jeanette Bicknell, Stephen Blum, Lee B. Brown & Malcolm Budd - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge.
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  22. A Philosophy of Song and Singing: An Introduction.Jeanette Bicknell - 2015 - Routledge.
    In Philosophy of Song and Singing: An Introduction , Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated (...)
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  23. Aaron Ridley, The Philosophy of Music: Theme and Variations. [REVIEW]Jeanette Bicknell - 2005 - Philosophy in Review 25:210-212.
     
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  24. George Yancy, Ed., The Philosophical I: Personal Reflections on Life in Philosophy Reviewed By.Jeanette Bicknell - 2004 - Philosophy in Review 24 (1):72-74.
     
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  25. Jerrold Levinson, Music in the Moment. [REVIEW]Jeanette Bicknell - 1999 - Philosophy in Review 19:205-207.
     
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  26. Jay Newman, Religion Vs. Television: Competitors in Cultural Context Reviewed By.Jeanette Bicknell - 1997 - Philosophy in Review 17 (3):193-194.
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  27. Jay Newman, Religion Vs. Television: Competitors in Cultural Context. [REVIEW]Jeanette Bicknell - 1997 - Philosophy in Review 17:193-194.
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  28. Orientalism and The Sheltering Sky.Jeanette Bicknell - 2007 - Film and Philosophy 11.
     
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  29. Performing Live: Aesthetic Alternatives for the Ends of Art.Jeanette Bicknell - 2003 - Philosophy of the Social Sciences 33 (4):506.
     
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  30. Philosophy of Song and Singing: An Introduction.Jeanette Bicknell - 2015 - Routledge.
    In _Philosophy of Song and Singing: An Introduction_, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated solo (...)
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  31. Stan Godlovitch, Musical Performance: A Philosophical Study Reviewed By.Jeanette Bicknell - 2000 - Philosophy in Review 20 (1):31-33.
     
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  32. Stan Godlovitch, Musical Performance: A Philosophical Study. [REVIEW]Jeanette Bicknell - 2000 - Philosophy in Review 20:31-33.
     
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  33. Self-Scrutiny in Maimonides' Ethical and Religious Thought.Jeanette Bicknell - 2002 - Laval Théologique et Philosophique 58 (3):531-543.
  34. Soul Music: Tracking the Spiritual Roots of Pop From Plato to Motown: Book Reviews. [REVIEW]Jeanette Bicknell - 2011 - British Journal of Aesthetics 51 (3):338-340.
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  35. Song, Songs, and Singing.Jeanette Bicknell & John Andrew Fisher (eds.) - 2013 - Wiley.
     
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  36. Ted Cohen, Thinking of Others: On the Talent for Metaphor. [REVIEW]Jeanette Bicknell - 2009 - Philosophy in Review 29 (4):244.
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  37. "The Mind Hears": An Examination of Some Philosophical Perspectives on Musical Experience.Jeanette Bicknell - 2000 - Dissertation, York University (Canada)
    An adequate account of musical understanding must be sufficiently detailed and nuanced so as to be able to make sense of the experience of listeners with diverse musical and cultural backgrounds. It should also help us begin to understand the wide variety of responses to music, including the responses of those who hear music as having semantic content. I approach these issues in the more general philosophical context of aesthetic understanding. As an approach to my own position, I examine the (...)
     
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  38. Why Music Moves Us.Jeanette Bicknell - 2009 - Palgrave-Macmillan.
    The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.
     
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