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  1. Aptness of emotions for fictions and imaginings.Jonathan Gilmore - 2011 - Pacific Philosophical Quarterly 92 (4):468-489.
    Many philosophical accounts of the emotions conceive of them as susceptible to assessments of rationality, fittingness, or some other notion of aptness. Analogous assumptions apply in cases of emotions directed at what are taken to be only fictional or only imagined. My question is whether the criteria governing the aptness of emotions we have toward what we take to be real things apply invariantly to those emotions we have toward what we take to be only fictional or imagined. I argue (...)
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  2. Reply to Abell’s and Currie’s comments on Gilmore’s Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind.Jonathan Gilmore - 2022 - British Journal of Aesthetics 62 (2):205-214.
    I am grateful to Catharine Abell and Gregory Currie for their incisive and productive commentaries on Apt Imaginings. In what follows, I will try to respond to.
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  3.  68
    Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind.Jonathan Gilmore - 2020 - Oxford University Press.
    How do our engagements with fictions and other products of the imagination compare to our experiences of the real world? Are the feelings we have about a novel's characters modelled on our thoughts about actual people? If it is wrong to feel pleasure over certain situations in real life, can it nonetheless be right to take pleasure in analogous scenarios represented in a fantasy or film? Should the desires we have for what goes on in a make-believe story cohere with (...)
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  4. A functional view of artistic evaluation.Jonathan Gilmore - 2011 - Philosophical Studies 155 (2):289-305.
    I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (...)
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  5. Expression as Realization: Speakers' Interests in Freedom of Speech.Jonathan Gilmore - 2011 - Law and Philosophy 30 (5):517-539.
    I argue for the recognition of a particular kind of interest that one has in freedom of expression: an interest served by expressive activity in forming and discovering one’s own beliefs, desires, and commitments. In articulating that interest, I aim to contribute to a family of theories of freedom of expression that find its justification in the interests that speakers have in their own speech or thought, to be distinguished from whatever interests they may also have as audiences or third (...)
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  6. Between Philosophy and Art.Jonathan Gilmore - 2004 - In Taylor Carman & Mark B. N. Hansen (eds.), The Cambridge Companion to Merleau-Ponty. New York: Cambridge University Press.
  7. Internal Beauty.Jonathan Gilmore - unknown
    In the title essay of The Philosophical Disenfranchisement of Art Arthur Danto describes two dominant strains of the philosophy of art in its Platonic beginnings: one that art is dangerous, and thus subject to political censorship or control, and the other that art exists at several removes from the ordinary reality, impotent to effect any meaningful change in the human world.1 These two ways of understanding art, really two charges laid at art’s door, seem contradictory, he writes, until one realizes (...)
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  8. The Life of a Style: Beginnings and Endings in the Narrative History of Art.Jonathan Gilmore - 2000 - Cornell University Press.
    In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...
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  9. That Obscure Object of Desire: Pleasure in Painful Art.Jonathan Gilmore - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
  10. The Life of a Style: Beginnings and Endings in the Narrative History of Art.Jonathan Gilmore - 2002 - Journal of Aesthetics and Art Criticism 60 (4):360-361.
     
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  11. Criticism.Jonathan Gilmore - 2000 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. New York: Routledge.
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  12. Imagination and Film.Jonathan Gilmore - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 845-863.
    This chapter addresses the application of contemporary theories of the imagination—largely drawn from cognitive psychology—to our understanding of film. Topics include the role of the imagination in our learning what facts hold within a fictional film, including what characters’ motivations, beliefs, and feelings are; how our perceptual experience of a film explains our imaginative visualizing of its contents; how fictional scenarios in films generate certain affective and evaluative responses; and how such responses compare to those we have toward analogous circumstances (...)
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  13.  28
    The Philosophical Disenfranchisement of Art.Arthur C. Danto & Jonathan Gilmore - 1986 - New York: Cambridge University Press.
    In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact -- especially the essay "The End of Art," which dramatically announced that art ended in the 1960s -- this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas, (...)
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  14. Commentary on Fiction: A Philosophical Analysis, by Catharine Abell; and Imagining and Knowing: The Shape of Fiction, by Gregory Currie.Jonathan Gilmore - 2022 - British Journal of Aesthetics 62 (2):173-183.
    Each of these books offers a richly developed and nuanced account of the nature of fiction. And each poses major challenges to a view about which there is a near-consensus. Catharine Abell draws on a theory of the institutions of fiction to advance a systematic re-envisioning of the metaphysics and epistemology of the contents of stories. Gregory Currie argues that fiction’s relationship to the imagination, and the way stories communicate their contents to readers, seriously undermine fiction’s cognitive values.
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  15. The Epistemology of Fiction and the Question of Invariant Norms.Jonathan Gilmore - 2014 - Royal Institute of Philosophy Supplement 75:105-126.
    A primary dimension of our engagement with fictional works of art – paradigmatically literary, dramatic, and cinematic narratives – is figuring out what is true in such representations, what the facts are in the fictional world. These facts include not only those that ground any genuine understanding of a story – say, that it was his own father whom Oedipus killed – but also those that may be missed in even a largely competent reading, say, that Emma Bovary's desires and (...)
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  16. Grief and Belief.Jonathan Gilmore - 2013 - British Journal of Aesthetics 53 (1):103-107.
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  17.  24
    Symposium: Arthur Danto, The Abuse of Beauty*: Internal Beauty.Jonathan Gilmore - 2005 - Inquiry: An Interdisciplinary Journal of Philosophy 48 (2):145-154.
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  18. Reply to carrier.Jonathan Gilmore - 1995 - Journal of Aesthetics and Art Criticism 53 (4):429.
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  19.  58
    The Routledge Companion to the Philosophies of Painting and Sculpture.Noël Carroll & Jonathan Gilmore (eds.) - 2022 - Routledge.
    Comprised of 45 chapters, written especially for this volume by an international team of leading experts, The Routledge Companion to the Philosophies of Painting and Sculpture is the first handbook of its kind. The editors have organized the chapters helpfully across eight parts: I: Artforms II: History III: Questions of Form, Style, and Address IV: Art and Science V: Comparisons among the Arts VI: Questions of Value VII: Philosophers of Art VIII: Institutional Questions Individual topics include art and cognitive science, (...)
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  20. Blackwell Companion to Arthur Danto.Jonathan Gilmore & Lydia Goehr (eds.) - 2022 - Blackwell.
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  21.  48
    David carrier's art history.Jonathan Gilmore - 1995 - Journal of Aesthetics and Art Criticism 53 (1):39-47.
    It is a commonplace now among art historians that to say, with Ruskin, that an artist had an "innocent eye" was to give the artist an empty compliment. It would have been to say that the artist possessed something no one could possess, and that, if we follow E. H. Gombrich, the artist was not part of the history of art. Gombrich's goal was to show that the history of art was constituted by artists "making and matching" as they saw (...)
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  22.  80
    Ethics, Aesthetics, and Artistic Ends.Jonathan Gilmore - 2011 - Journal of Value Inquiry 45 (2):203-214.
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  23.  55
    Normative and scientific approaches to the understanding and evaluation of art.Jonathan Gilmore - 2013 - Behavioral and Brain Sciences 36 (2):144-145.
    The psycho-historical framework proposes that appreciators' responses to art vary as a function of their sensitivity to its historical dimensions. However, the explanatory power of that framework is limited insofar as it assimilates relevantly different kinds of appreciation and insofar as it eschews a normative account of when a response succeeds in qualifying as an appreciation of art qua art.
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  24. Opinion.Jonathan Gilmore & Judith Surkis - unknown
    The recent arrest of Roman Polanski, the film director who fled to France from the United States in 1978 on the eve of sentencing for having unlawful sex with a 13-year-old girl, has caused an international ruckus. The French culture minister, Frédéric Mitterrand, and the French foreign minister, Bernard Kouchner, both issued statements of support for Mr. Polanski. But many others in France have expressed outrage at that support and said he should face justice for the crime.
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  25.  9
    Pictorial Decorum.Jonathan Gilmore - 2018 - In Ana Falcato & Antonio Cardiello (eds.), Philosophy in the Condition of Modernism. Cham: Springer Verlag. pp. 355-384.
    In this essay I ask what it means to judge a work of art as failing to depict its subject in an appropriate way. I refer to such a judgment, when applied to visual art, as one of pictorial decorum, a notion that draws on ancient and early modern ideas of literary or poetic decorum. At play are two kinds of normativity. One intuition, of ancient vintage, is that a work of art may qua art be appropriately subject to general (...)
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  26.  28
    Philosophy of Literature.Jonathan Gilmore - 2013 - Oxford Bibliographies Online.
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  27. Pictorial realism.Jonathan Gilmore - 1998 - In Michael Kelly (ed.), Encyclopedia of aesthetics. New York: Oxford University Press. pp. 4--109.
     
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  28.  23
    A Companion to Arthur C. Danto.Lydia Goehr & Jonathan Gilmore (eds.) - 2021 - Hoboken: Wiley.
    "This outstanding student reference series offers a comprehensive and authoritative survey of philosophy as a whole. Written by today's leading philosophers, each volume provides lucid and engaging coverage of the key figures, terms, topics, and problems of the field. Taken together, the volumes provide the ideal basis for course use, representing an unparalleled work of reference for students and specialists alike"--.
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  29.  13
    Introduction: Five Pieces for Arthur Danto (1924–2013) In memoriam.Lydia Goehr, Daniel Herwitz, Fred Rush & Jonathan Gilmore - 2021 - In Lydia Goehr & Jonathan Gilmore (eds.), A Companion to Arthur C. Danto. Hoboken: Wiley. pp. 1–14.
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  30. Lamarque, Peter. The Opacity of Narrative. Lanham, Maryland: Rowman & Littlefield, 2014, xv + 213 pp., £19.95 paper. [REVIEW]Jonathan Gilmore - 2015 - Journal of Aesthetics and Art Criticism 73 (3):349-351.
  31.  20
    The Aesthete in the City. [REVIEW]Jonathan Gilmore - 1998 - International Studies in Philosophy 30 (2):122-123.
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