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Jenefer Robinson [61]Jenefer M. Robinson [7]Jenefer Mary Robinson [1]
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Jenefer Robinson
University of Cincinnati
  1. Deeper Than Reason: Emotion and its Role in Literature, Music, and Art.Jenefer Robinson - 2005 - Clarendon Press.
    Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...)
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  2. Deeper than Reason. Emotion and its Role in Literature, Music and Art.Jenefer Robinson - 2005 - Tijdschrift Voor Filosofie 69 (1):188-189.
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  3. Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art.Jenefer Robinson - 2006 - Philosophy 81 (316):375-379.
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  4.  14
    Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art.Jenefer Robinson - 2006 - Journal of Aesthetics and Art Criticism 64 (2):283-285.
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  5.  80
    This Is Your Brain on Music: The Science of a Human Obsession.Jenefer Robinson - 2008 - Journal of Aesthetics and Art Criticism 66 (1):91-94.
  6.  64
    Aesthetic Emotions.Jenefer Robinson - 2020 - The Monist 103 (2):205-222.
    This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...)
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  7. Startle.Jenefer Robinson - 1995 - Journal of Philosophy 92 (2):53-74.
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  8. Emotion: Biological Fact or Social Construction.Jenefer Robinson - 2004 - In Robert C. Solomon (ed.), Thinking About Feeling: Contemporary Philosophers on Emotions. Oxford University Press.
     
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  9.  22
    Musical Meaning and Expression.Jenefer Robinson - 1996 - Journal of Aesthetics and Art Criticism 54 (3):307-309.
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  10. Style and Personality in the Literary Work.Jenefer M. Robinson - 1985 - Philosophical Review 94 (2):227-247.
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  11. Expression And Expressiveness In Art.Jenefer Robinson - 2007 - Postgraduate Journal of Aesthetics 4 (2):19-41.
    The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “expressiveness” (...)
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  12. The Expression and Arousal of Emotion in Music.Jenefer Robinson - 1994 - Journal of Aesthetics and Art Criticism 52 (1):13-22.
  13.  72
    Emotion, Judgement, and Desire.Jenefer Robinson - 1983 - Journal of Philosophy 80 (November):731-740.
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  14.  52
    On Being Moved by Architecture.Jenefer Robinson - 2012 - Journal of Aesthetics and Art Criticism 70 (4):337–353.
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  15.  63
    Aesthetic Disgust?Jenefer Robinson - 2014 - Royal Institute of Philosophy Supplement 75:51-84.
    In paragraph 48 of the Critique of Judgment, Immanuel Kant claimed that ‘only one kind of ugliness cannot be represented in accordance with nature without destroying all aesthetic satisfaction, hence artistic beauty, namely that which arouses disgust.’ However, from Baudelaire to Damien Hirst, there have been artists who delight in arousing disgust through their works, and many of these disgusting works, such as Baudelaire's Une Charogne, have high aesthetic merit. In her splendid new book, Savoring Disgust, Carolyn Korsmeyer rejects Kant's (...)
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  16.  30
    The Missing Person Found. Part II: Feelings for Pictures.Jenefer Robinson - 2017 - British Journal of Aesthetics 57 (4):349-367.
    According to Dominic Lopes, expressiveness in pictures should be analyzed solely in terms of “expression looks” of various sorts, namely the look of a figure, a scene and/or a design. But, according to this view, it seems puzzling that expressive pictures should have any emotional effect on their audiences. Yet Lopes explicitly ties his “contour theory” of expression in pictures to empathic responses in spectators. Thus, despite his deflationary account of pictorial expression, he claims that pictures can give us practice (...)
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  17. Emotion and the Understanding of Narrative.Jenefer Robinson - 2010 - In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell.
     
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  18.  91
    L'éducation Sentimentale.Jenefer Robinson - 1995 - Australasian Journal of Philosophy 73 (2):212 – 226.
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  19.  80
    Shostakovich's Tenth Symphony and the Musical Expression of Cognitively Complex Emotions.Gregory Karl & Jenefer Robinson - 1995 - Journal of Aesthetics and Art Criticism 53 (4):401-415.
  20.  52
    The Art of Distancing: How Formal Devices Manage Our Emotional Responses to Literature.Jenefer Robinson - 2004 - Journal of Aesthetics and Art Criticism 62 (2):153–162.
  21.  9
    The Emotions in Art.Jenefer Robinson - 2004 - In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell. pp. 174--192.
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  22.  17
    The Missing Person Found. Part I: Expressing Emotions in Pictures.Jenefer Robinson - 2017 - British Journal of Aesthetics 57 (3):249-267.
    In Sight and Sensibility Dominic Lopes argues that expressiveness in pictures should be analyzed on the model of the “contour” theory of musical expressiveness, according to which an “expression” need not express anything about the inner psychological states of a person. According to his “contour theory of pictorial expression,” expression by scenes and designs requires “no being to whom the expressed emotion is attributable”. However, on this account expression has lost its fundamental raison d’être, that of manifesting somebody’s actual emotional (...)
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  23.  39
    General and Individual Style in Literature.Jenefer Robinson - 1984 - Journal of Aesthetics and Art Criticism 43 (2):147-158.
  24. Do All Musical Emotions Have the Music Itself as Their Intentional Object?Jenefer Robinson - 2008 - Behavioral and Brain Sciences 31 (5):592-593.
    Juslin & Vll (J&V) think that all emotions aroused by music have the music itself as their Some of the mechanisms they discuss almost certainly involve both cognitive appraisals and intentional objects. But some of the mechanisms are non-cognitive: they involve neither cognitive appraisals nor intentional objects. Partly for this reason they may produce moods rather than emotions proper.
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  25.  33
    Yet Again, ‘Between Absolute and Programme Music’.Gregory Karl & Jenefer Robinson - 2015 - British Journal of Aesthetics 55 (1):19-37.
    In this paper, we contest Peter Kivy’s claim that there is a clear opposition between ‘absolute music’ and programme music and between musical form and musical expressiveness. We argue, on the contrary, that much music falls somewhere between absolute and programme music as Kivy conceives the categories, and that such music is often primarily organized not on purely formal principles but by means of the overall ‘expressive trajectory’ or ‘poetic idea’ of the piece. Kivy is dismissive of all ‘narrativist’ interpretations (...)
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  26. Style and Significance in Art History and Art Criticism.Jenefer M. Robinson - 1981 - Journal of Aesthetics and Art Criticism 40 (1):5-14.
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  27. Languages of Art at the Turn of the Century.Jenefer Robinson - 2000 - Journal of Aesthetics and Art Criticism 58 (3):213-218.
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  28.  89
    Aesthetics and Ethics: Essays at the Intersection.Jenefer Robinson - 2002 - Mind 111 (443):687-693.
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  29.  6
    Philosophies of Arts: An Essay in Differences.Jenefer Robinson - 2000 - Philosophical Review 109 (1):138.
    There are few writers on philosophical aesthetics who are such a pleasure to read as Peter Kivy, so a new book by him is always reason for celebration. In this latest volume all the Kivy virtues are on display: clear, careful argument and good sense, conveyed in an urbane and conversational style. The main theme of the book is that aestheticians have spent too much time discussing general theories of art that emphasize what the various art forms have in common, (...)
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  30.  10
    After the New Criticism.Jenefer Robinson & Frank Lentricchia - 1984 - Journal of Aesthetic Education 18 (2):116.
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  31. Emotional Responses to Music: What Are They? How Do They Work? And Are They Relevant to Aesthetic Appreciation?Jenefer Robinson - 2009 - In Peter Goldie (ed.), The Oxford Handbook of Philosophy of Emotion. Oxford University Press.
     
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  32.  13
    The Eliminability of Artistic Acts.Jenefer Robinson - 1977 - Journal of Aesthetics and Art Criticism 36 (1):81-89.
  33. Antithetical Arts. [REVIEW]Jenefer Robinson - 2013 - Philosophical Review 122 (1):139-143.
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  34. Bob Solomon’s Legacy: Introduction.Nico H. Frijda & Jenefer M. Robinson - 2010 - Emotion Review 2 (1):3-4.
    Bob Solomon used to inveigh against William James’ theory of emotions, but he eventually arrived at a rapprochement with James and James’s recent successors. In particular, James suggested that emotions are initiated by the “automatic, instinctive” appraisals that register important information in the body and are recorded by body-mapping brain areas. In recent work Solomon describes the judgments he thinks constitute emotions as felt bodily appraisals in similar fashion.
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  35. Syntax, Meaning and Context: A Reply to Keenan.Jenefer Robinson - 1977 - Philosophical Quarterly 27 (107):162-164.
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  36.  62
    Book ReviewsPeter. Goldie, The Emotions: A Philosophical Exploration.Oxford: Oxford University Press, 2000. Pp. 272. $55.00. [REVIEW]Jenefer Robinson - 2004 - Ethics 114 (2):346-350.
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  37.  30
    Representation in Music and Painting.Jenefer Robinson - 1981 - Philosophy 56 (217):408 - 413.
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  38.  1
    Expressing the Way the World Is: Expression as Reference.Jenefer M. Robinson - 1979 - Journal of Aesthetic Education 13 (1):29.
  39.  37
    Bob Solomon and William James: A Rapprochement.Jenefer M. Robinson - 2010 - Emotion Review 2 (1):53-60.
    Bob Solomon used to inveigh against William James’ theory of emotions, but he eventually arrived at a rapprochement with James and James’s recent successors. In particular, James suggested that emotions are initiated by the “automatic, instinctive” appraisals that register important information in the body and are recorded by body-mapping brain areas. In recent work Solomon describes the judgments he thinks constitute emotions as felt bodily appraisals in similar fashion.
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  40.  85
    Savoring Disgust: The Foul and Fair in Aesthetics, by Carolyn Korsmeyer. [REVIEW]Jenefer Robinson - 2013 - Mind 122 (486):fzt077.
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  41. Patricia S. Greenspan, Emotions and Reasons. [REVIEW]Jenefer Robinson - 1991 - Philosophy in Review 11 (2):101-104.
     
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  42. Ronald de Sousa, The Rationality of Emotion Reviewed By.Jenefer M. Robinson - 1989 - Philosophy in Review 9 (6):224-228.
     
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  43.  93
    Review of Charles O. Nussbaum, The Musical Representation: Meaning, Ontology, and Emotion[REVIEW]Jenefer Robinson - 2009 - Notre Dame Philosophical Reviews 2009 (3).
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  44.  16
    The Individuation of Speech Acts.Jenefer Robinson - 1974 - Philosophical Quarterly 24 (97):316-336.
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  45.  8
    Music and Meaning.Jenefer Robinson - 1998 - Journal of Aesthetics and Art Criticism 56 (3):314-316.
  46.  67
    Some Remarks on Goodman's Language Theory of Pictures.Jenefer Robinson - 1979 - British Journal of Aesthetics 19 (1):63-75.
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  47. Personal Identity and Survival.Jenefer M. Robinson - 1988 - Journal of Philosophy 85 (June):319-28.
  48. Can Music Function as a Metaphor of Emotional Life?Jenefer Robinson - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press. pp. 149-177.
  49. Catherine Z. Elgin, With Reference to Reference. [REVIEW]Jenefer Robinson - 1984 - Philosophy in Review 4:22-24.
     
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  50. Making Believe. [REVIEW]Jenefer Robinson - 1987 - Philosophical Review 96 (1):138-141.
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