96 found
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  1. Fred Adams, Gary Fuller & Robert Stecker (1997). The Semantics of Fictional Names. Pacific Philosophical Quarterly 78 (2):128–148.
    In this paper we defend a direct reference theory of names. We maintain that the meaning of a name is its bearer. In the case of vacuous names, there is no bearer and they have no meaning. We develop a unified theory of names such that one theory applies to names whether they occur within or outside fiction. Hence, we apply our theory to sentences containing names within fiction, sentences about fiction or sentences making comparisons across fictions. We then defend (...)
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  2.  22
    Robert Stecker (1998). Artworks: Definition, Meaning, Value. Journal of Aesthetics and Art Criticism 56 (3):311-313.
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  3.  48
    Fred Adams & Robert Stecker (1994). Vacuous Singular Terms. Mind and Language 9 (4):387-401.
  4.  52
    Robert Stecker (2005). The Interaction of Ethical and Aesthetic Value. British Journal of Aesthetics 45 (2):138-150.
    In many artworks, both aesthetic and ethical values are present, and both can contribute to the overall artistic value of a work. The question explored in this paper is: does the presence of one kind of value affect the degree of the other? For example, does a work that expresses a morally reprehensible attitude diminish the aesthetic value of a work? Let ‘interaction’ name the view that the presence of one kind of value affects the degree of the other. We (...)
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  5. Robert Stecker (1994). Art Interpretation. Journal of Aesthetics and Art Criticism 52 (2):193-206.
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  6. Frederick R. Adams, Robert A. Stecker & Gary Fuller (1992). The Semantics of Thought. Pacific Philosophical Quarterly 73 (4):375-389.
  7.  24
    Robert Stecker (2005). Aesthetics and the Philosophy of Art: An Introduction. Rowman & Littlefield Publishers.
    Aesthetics and the Philosophy of Art is an essential introduction to some of the central topics and approaches being debated in contemporary aesthetics and philosophy of art. By taking a stand on each of the issues addressed and arguing for certain resolutions and against others, the text does not simply present a controversy in its current state of play, but instead helps to advance it toward a solution.
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  8. Robert Stecker (2006). Aesthetic Experience and Aesthetic Value. Philosophy Compass 1 (1):1–10.
    What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.
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  9. Robert Hopkins & Robert Stecker (2009). Davies, Stephen; Higgins, Kathleen Marie. British Journal of Aesthetics 49 (4):462.
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  10.  71
    Frederick R. Adams, David Drebushenko, Gary Fuller & Robert A. Stecker (1990). Narrow Content: Fodor's Folly. Mind and Language 5 (3):213-29.
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  11. Reviews by Robert Stecker & John Dilworth (2005). David Davies, Art as Performance. Journal of Aesthetics and Art Criticism 63 (1):75–80.
    In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...)
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  12.  84
    Robert A. Stecker (2006). Moderate Actual Intentionalism Defended. Journal of Aesthetics and Art Criticism 64 (4):429-438.
  13.  12
    Robert Stecker (2016). Seeing Fictions in Film: The Epistemology of Movies, by George M. Wilson. Mind 125 (498):582-585.
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  14.  36
    Frederick R. Adams, Gary Fuller & Robert A. Stecker (1993). Thoughts Without Objects. Mind and Language 8 (1):90-104.
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  15. Robert Stecker (2010). Aesthetics and the Philosophy of Art: An Introduction. Rowman & Littlefield Publishers.
    Praised in its original edition for its up-to-date, rigorous presentation of current debates and for the clarity of its presentation, Robert Stecker's new edition of Aesthetics and the Philosophy of Art preserves the major themes and conclusions of the original, while expanding its content, providing new features, and enhancing accessibility. Described as a "remarkably unified introduction to many contemporary debates in aesthetics and the philosophy of art," Stecker specializes in sympathetically laying bear the play of argument that emerges as competing (...)
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  16. Robert Stecker (2002). Is the Constructivist's Dilemma Flawed? Reply to Percival. Journal of Aesthetics and Art Criticism 60 (1):81–82.
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  17.  94
    Robert Stecker (1990). Lorand and Kant on Free and Dependent Beauty. British Journal of Aesthetics 30 (1):71-74.
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  18.  15
    Robert Stecker (2009). Methodological Questions About the Ontology of Music. Journal of Aesthetics and Art Criticism 67 (4):375 - 386.
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  19.  49
    Robert Stecker (2008). Immoralism and the Anti-Theoretical View. British Journal of Aesthetics 48 (2):145-161.
    Can a moral defect be an artistic virtue? Can it make a positive contribution to artistic value? Further, if this can happen on occasion, does this imply that moral value has no systematic connection to artistic value since every conceivable relation between them is possible? The idea that moral defects can sometimes be artistic virtues has received a fair number of defenders recently and so has the anti-theoretical view that there is no systematic relation between artistic and moral value. But (...)
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  20.  34
    Robert Stecker (2015). Beyond Art. British Journal of Aesthetics 55 (2):258-261.
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  21.  48
    Christina Graves, Jerrold J. Katz, Yuji Nishiyama, Scott Soames, Robert Stecker & Peter Tovey (1973). Tacit Knowledge. Journal of Philosophy 70 (11):318-330.
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  22.  58
    Robert Stecker (1990). The Boundaries of Art. British Journal of Aesthetics 30 (3):266-272.
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  23.  26
    Max F. Adams, R. Stecker & G. Fuller (1999). Object Dependent Thoughts, Perspectival Thoughts, and Psychological Generalization. Dialectica 53 (1):47–59.
  24.  59
    Robert Stecker (1997). The Correct and the Appropriate in the Appreciation of Nature. British Journal of Aesthetics 37 (4):393-402.
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  25.  17
    Robert Stecker (1987). Apparent, Implied, and Postulated Authors. Philosophy and Literature 11 (2):258-271.
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  26.  26
    Fred Adams, Robert Stecker & Gary Fuller (1993). Schiffer on Modes of Presentation. Analysis 53 (1):30 - 34.
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  27.  71
    R. Stecker (2011). Should We Still Care About the Paradox of Fiction? British Journal of Aesthetics 51 (3):295-308.
    The paradox of fiction presents an inconsistent triad of propositions, all of which are purported to be plausible or difficult to abandon. Here is an instance of the paradox: (1) Sally pities Anna (where Anna is the character Anna Karenina). (2) To pity someone, one must believe that they exist and are suffering. (3) Sally does not believe that Anna exists. Here is the problem. The paradox was formulated during the heyday of the cognitive theory of the emotions when there (...)
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  28.  68
    Robert Stecker (2003). Interpretation and Construction: Art, Speech, and the Law. Wiley-Blackwell.
    _Interpretation and Construction_ examines the interpretation and products of intentional human behavior, focusing primarily on issues in art, law, and everyday speech. Focuses on artistic interpretation, but also includes extended discussion of interpretation of the law and everyday speech and communication. Written by one of the leading theorists of interpretation. Theoretical discussions are consistently centered around examples for ease of comprehension.
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  29. Robert Stecker (1996). What is Literature? Revue Internationale de Philosophie 50 (198):681-694.
     
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  30.  91
    Robert Stecker (1986). The End of an Institutional Definition of Art. British Journal of Aesthetics 26 (2):124-132.
    In "the art circle", dickie presents a revised institutional account of art. i argue: 1) if we consider the letter of the new account, it fails to distinguish works of art from many other artifacts; 2) if we consider its spirit, it is closer to the approach of those who claim art cannot be defined than to dickie's own earlier approach; 3) dickie fails to show that an institutional framework is a necessary condition for being a work of art.
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  31.  21
    Robert Stecker (1993). The Role of Intention and Convention in Interpreting Artworks. Southern Journal of Philosophy 31 (4):471-489.
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  32.  41
    Robert Stecker (1997). The Constructivist's Dilemma. Journal of Aesthetics and Art Criticism 55 (1):43-52.
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  33.  52
    R. Stecker (2007). The Aesthetic Function of Art. Philosophical Review 116 (1):115-118.
    Introduces a more sophisticated functional definition of art Deals with some of the problems Beardsley had Old & New Aestheticism Aesthetic Communication notes on the Artworld Artistic value End of art?
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  34.  7
    Max F. Adams, R. Stecker & G. Fuller (1999). Object Dependent Thoughts, Perspectival Thoughts, and Psychological Generalization. Dialectica 53 (1):47-59.
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  35.  53
    R. Stecker (2006). Review: Arts and Minds. [REVIEW] Mind 115 (459):757-760.
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  36.  74
    Robert Stecker (1999). Davies on the Musical Expression of Emotion. British Journal of Aesthetics 39 (3):273-281.
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  37.  2
    R. Stecker (2005). Revealing Art. British Journal of Aesthetics 45 (4):441-443.
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  38.  24
    Robert Stecker (2001). Expressiveness and Expression in Music and Poetry. Journal of Aesthetics and Art Criticism 59 (1):85-96.
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  39.  40
    Robert Stecker (1987). Thomas Reid on the Moral Sense. The Monist 70 (4):453-464.
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  40.  51
    Robert Stecker (1984). Aesthetic Instrumentalism and Aesthetic Autonomy. British Journal of Aesthetics 24 (2):160-165.
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  41.  4
    Robert Stecker (2003). 'Value in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press 307--324.
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  42.  11
    R. Stecker (2001). Only Jerome: A Reply to Noël Carroll. British Journal of Aesthetics 41 (1):76-80.
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  43.  20
    Fred Adams, Robert Stecker & Gary Fuller (1993). The Floyd Puzzle: Reply to Yagisawa. Analysis 53 (1):36 - 40.
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  44.  53
    Robert Stecker (1996). Alien Objections to Historical Definitions of Art. British Journal of Aesthetics 36 (3):305-308.
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  45.  32
    Robert Stecker (1992). Defining “Art”. Southern Journal of Philosophy 30 (4):141-152.
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  46.  46
    R. Stecker & S. Davies (2010). The Hypothetical Intentionalist's Dilemma: A Reply to Levinson. British Journal of Aesthetics 50 (3):307-312.
    In a recent essay, Jerrold Levinson defends his version of hypothetical intentionalism (HI), which is a theory of literary interpretation, from two criticisms. The first, argued by Stephen Davies, is that it is equivalent to the value-maximizing view. The second, argued by Robert Stecker, is that there are straightforward counterexamples to HI. We will argue that Levinson does not successfully fend off either criticism, and further, that in the process of attempting to do so, creates another dilemma for his view.
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  47.  34
    Robert Stecker (1983). Nolt on Expression and Emotion. British Journal of Aesthetics 23 (3):234-239.
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  48.  19
    Robert Stecker (1992). Thomas Reid's Philosophy of Action. Philosophical Studies 66 (2):197 - 208.
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  49.  19
    Robert Stecker (1995). Objectivity and Interpretation. Philosophy and Literature 19 (1):48-59.
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  50.  52
    Robert Stecker (1990). Fish's Argument for the Relativity of Interpretive Truth. Journal of Aesthetics and Art Criticism 48 (3):223-230.
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