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Kendall L. Walton [43]Kendall Lewis Walton [3]
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  1. Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. WALTON - 1990 - Harvard University Press.
    Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
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  2. Mimesis as Make-Believe.Kendall L. Walton - 1990 - Synthese 109 (3):413-434.
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  3. Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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  4. Fearing Fictions.Kendall L. Walton - 1978 - Journal of Philosophy 75 (1):5-27.
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  5.  14
    Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. Walton - 1990 - Journal of Aesthetics and Art Criticism 49 (2):161-166.
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  6. Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. WALTON - 1990 - Philosophy 66 (258):527-529.
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  7. Metaphor and Prop Oriented Make‐Believe.Kendall L. Walton - 1993 - European Journal of Philosophy 1 (1):39-57.
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  8.  51
    Transparent Pictures: On the Nature of Photographic Realism.Kendall L. Walton - 1984 - Critical Inquiry 11 (2):246-277.
    That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...)
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  9. Morals in Fiction and Fictional Morality (I).Kendall Lewis Walton - 1994/2015 - Proceedings of the Aristotelian Society 68:27-50.
  10. Transparent Pictures: On the Nature of Photographic Realism.Kendall L. Walton - 1984 - Noûs 18 (1):67-72.
    That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...)
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  11.  22
    Aesthetic Properties: Context Dependent and Perceptual.Kendall L. Walton - 2020 - Journal of Aesthetics and Art Criticism 78 (1):79-84.
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  12. Morals in Fiction and Fictional Morality.Kendall L. Walton & Michael Tanner - 1994 - Aristotelian Society Supplementary Volume 68 (1):27-66.
  13. On the (so-Called) Puzzle of Imaginative Resistance.Kendall Lewis Walton - 2006 - In Shaun Nichols (ed.), The Architecture of the Imagination. Oxford University Press. pp. 137-148.
  14. Metaphor, Fictionalism, Make-Believe: Response to Elisabeth Camp.Kendall L. Walton - manuscript
    Prop oriented make-believe is make-believe utilized for the purpose of understanding what I call “props,” actual objects or states of affairs that make propositions “fictional,” true in the make-believe world. I, David Hills, and others have claimed that prop oriented make-believe lies at the heart of the functioning of many metaphors, and one variety of fictionalism in metaphysics invokes prop oriented make-believe to explain away apparent references to entities some find questionable or problematic (fictional characters, propositions, moral properties, numbers). Elisabeth (...)
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  15. How Marvelous! Toward a Theory of Aesthetic Value.Kendall L. Walton - 1993 - Journal of Aesthetics and Art Criticism 51 (3):499-510.
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  16. "It's Only a Game!" Sports As Fiction.Kendall L. Walton - 2015 - In In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press. pp. 75-83.
    Sports and competitive games of many kinds—from tag to chess to baseball—are often occasions for make-believe. To participate either as a competitor or as a spectator is frequently to engage in pretense. The activities of playing and watching games have this in common with appreciating works of fiction and participating in children’s make-believe activities, although the make-believe in sports, masked by real interests and concerns, is less obvious than it is in the other cases. What is most interesting about tag (...)
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  17. Pictures and Make-Believe.Kendall L. Walton - 1973 - Philosophical Review 82 (3):283-319.
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  18.  23
    Art and the Aesthetic: An Institutional Analysis.Kendall L. Walton - 1977 - Philosophical Review 86 (1):97.
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  19. Morals in Fiction and Fictional Morality.Kendall L. Walton & Michael Tanner - 1994 - Proceedings of the Aristotelian Society, Supplementary Volumes( 68:27-66.
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  20. In Other Shoes: Music, Metaphor, Empathy, Existence.Kendall L. Walton - 2015 - Oxford University Press.
    In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.
     
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  21. Précis of Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. Walton - 1991 - Philosophy and Phenomenological Research 51 (2):379-382.
  22. On Pictures and Photographs: Objections Answered.Kendall L. Walton - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press. pp. 60--75.
     
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  23. Restricted Quantification, Negative Existentials, and Fiction.Kendall L. Walton - 2003 - Dialectica 57 (2):239–242.
    Realist theories about fictional entities must explain the fact that, in ordinary contexts people deny, apparently in all seriousness, that there are such things as the Big Bad Wolf and Santa Claus. The usual explanation treats these denials as involving restricted quantification: The speaker is said to be denying only that the Big Bad Wolf and Santa Claus are to be found among real or actual things, not that there are no such things at all. This is unconvincing. The denials (...)
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  24. How Remote Are Fictional Worlds From the Real World?Kendall L. Walton - 1978 - Journal of Aesthetics and Art Criticism 37 (1):11-23.
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  25.  51
    Projectivism, Empathy, and Musical Tension.Kendall L. Walton - 1999 - Philosophical Topics 26 (1-2):407-440.
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  26.  50
    The Possibility of Criticism.Kendall L. Walton - 1973 - Journal of Philosophy 70 (22):832-836.
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  27.  94
    What is Abstract About the Art of Music?Kendall L. Walton - 1988 - Journal of Aesthetics and Art Criticism 46 (3):351-364.
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  28.  24
    Reply to Reviewers.Kendall L. Walton - 1991 - Philosophy and Phenomenological Research 51 (2):413 - 431.
  29.  37
    Looking Again Through Photographs: A Response to Edwin Martin.Kendall L. Walton - 1986 - Critical Inquiry 12 (4):801-808.
    My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...)
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  30. Are Representations Symbols?Kendall L. Walton - 1974 - The Monist 58 (2):236-254.
    The representational arts seem friendly territory for “symbol” theories of aesthetics. Much of the initial resistance one may feel to the idea that a Mondrian composition or a Scarlatti sonata is a symbol evaporates when we switch to a portrait of Mozart, Michelangelo’s Pietá, or Dickens’s A Tale of Two Cities. These representational works have reference to things outside themselves. The portrait is a picture of Mozart; the Pietá is a sculpture of Christ and his Mother; A Tale of Two (...)
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  31. Categories and Intentions: A Reply.Kendall L. Walton - 1973 - Journal of Aesthetics and Art Criticism 32 (2):267-268.
  32.  65
    Fearing Fictionally.Kendall L. Walton - 2008 - In Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates. Routledge. pp. 257.
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  33. Works and Worlds of Art.Kendall L. Walton - 1983 - Journal of Philosophy 80 (3):179-193.
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  34.  5
    Restricted Quantification, Negative Existentials, and Fiction.Kendall L. Walton - 2003 - Dialectica 57 (2):239-242.
    Realist theories about fictional entities must explain the fact that, in ordinary contexts people deny, apparently in all seriousness, that there are such things as the Big Bad Wolf and Santa Claus. The usual explanation treats these denials as involving restricted quantification: The speaker is said to be denying only that the Big Bad Wolf and Santa Claus are to be found among real or actual things, not that there are no such things at all. This is unconvincing. The denials (...)
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  35. Points of View in Narrative and Depictive Representation.Kendall L. Walton - 1976 - Noûs 10 (1):49-61.
    The reader's access to the fictional world of a novel is mediated by the narrator, when there is one; the fictional world is presented from the narrator's perspective. do depictions ever have anything comparable to narrators? apparent artists sometimes have a certain perspective on the fictional world. but they don't mediate our access to it; the fictional world is presented independently of their perspective on it. depictions do present fictional worlds from certain perspectives, but not usually the perspectives of any (...)
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  36. Languages of Art: An Emendation.Kendall L. Walton - 1971 - Philosophical Studies 22 (5-6):82 - 85.
    In nelson goodman's "languages of art" a symbol system must be 'finitely differentiated', both syntactically and semantically, to count as a 'notation'. goodman's formulations of these differentiation requirements are seriously defective. it is shown that most of the examples of systems which he claims fail these requirements, do not fail them as they are stated. reformulations of the two requirements are offered, which accord with the examples and seem otherwise acceptable.
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  37.  68
    Fiction, Fiction-Making, and Styles of Fictionality.Kendall L. Walton - 1983 - Philosophy and Literature 7 (1):78-88.
  38.  19
    Precis of Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. Walton - 1991 - Philosophy and Phenomenological Research 51 (2):379-382.
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  39.  28
    Review of Works and Worlds of Arts by Nicholas Wolterstorff. [REVIEW]Kendall L. Walton - 1983 - Journal of Philosophy 80 (3):179-193.
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  40.  20
    Linguistic Relativity.Kendall L. Walton - 1973 - In Glenn Pearce & Patrick Maynard (eds.), Conceptual Change. Boston: D. Reidel. pp. 1--30.
  41.  46
    Not a Leg to Stand on the Roof On.Kendall L. Walton - 1973 - Journal of Philosophy 70 (19):725-726.
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  42.  17
    Pictures, Titles, Depictive Content.Kendall L. Walton - 2011 - In Publications of the Austrian Ludwig Wittgenstein Society - N.S. 17. De Gruyter. pp. 395-408.
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  43. Conceptual Schemes: A Study of Linguistic Relativity and Related Philosophical Problems.Kendall Lewis Walton - 1967 - Dissertation, Cornell University
     
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  44. Empathy and Musical Tension.Kendall L. Walton - 2002 - In Dag Prawitz (ed.), Meaning and Interpretation: Conference Held in Stockholm, September 24-26, 1998. Kungl. Vitterhets, Historie Och Antikvitets Akademien. pp. 55--43.
     
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  45. 'Mimesis as Make-Believers'-Reply to Reviewers.Kendall L. Walton - 1991 - Philosophy and Phenomenological Research 51 (2):413-431.
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  46. Marie-Laure Ryan.Kendall L. Walton - 1995 - Semiotica 103 (3/4):349-367.
     
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