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Robert Stecker [105]Robert A. Stecker [3]
  1.  65
    Artworks: Definition, Meaning, Value.Robert Stecker - 1997 - Journal of Aesthetics and Art Criticism 56 (3):311-313.
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  2. The Semantics of Fictional Names.Fred Adams, Gary Fuller & Robert Stecker - 1997 - 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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  3.  83
    Vacuous Singular Terms.Fred Adams & Robert Stecker - 1994 - Mind and Language 9 (4):387-401.
  4.  12
    Art as Performance.Robert Stecker - 2005 - Journal of Aesthetics and Art Criticism 63 (1):77-80.
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  5. The Interaction of Ethical and Aesthetic Value.Robert Stecker - 2005 - 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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  6.  93
    Interpretation and Construction: Art, Speech, and the Law.Robert Stecker - 2003 - 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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  7.  74
    Tacit Knowledge.Christina Graves, Jerrold J. Katz, Yuji Nishiyama, Scott Soames, Robert Stecker & Peter Tovey - 1973 - Journal of Philosophy 70 (11):318-330.
  8. Aesthetic Experience and Aesthetic Value.Robert Stecker - 2006 - 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. Moderate Actual Intentionalism Defended.Robert A. Stecker - 2006 - Journal of Aesthetics and Art Criticism 64 (4):429-438.
  10. The Semantics of Thought.Frederick R. Adams, Robert A. Stecker & Gary Fuller - 1992 - Pacific Philosophical Quarterly 73 (4):375-389.
  11. Interpretation and Construction: Art, Speech and the Law.Robert Stecker, Matthew Kieran, Berys Gaut & Paisley Livingston - 2005 - Philosophical Quarterly 55 (218):150-155.
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  12.  46
    Methodological Questions About the Ontology of Music.Robert Stecker - 2009 - Journal of Aesthetics and Art Criticism 67 (4):375 - 386.
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  13.  91
    Immoralism and the Anti-Theoretical View.Robert Stecker - 2008 - 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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  14. Art Interpretation.Robert Stecker - 1994 - Journal of Aesthetics and Art Criticism 52 (2):193-206.
  15.  51
    Artistic Value Defended.Robert Stecker - 2012 - Journal of Aesthetics and Art Criticism 70 (4):355-362.
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  16.  60
    Thoughts Without Objects.Fred Adams, Gary Fullerd & Robert Stecker - 1993 - Mind and Language 8 (1):90-104.
  17.  84
    Aesthetics and the Philosophy of Art: An Introduction.Robert Stecker - 2005 - 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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  18.  32
    Value in Art.Robert Stecker - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 307--324.
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  19.  76
    The Hypothetical Intentionalist's Dilemma: A Reply to Levinson: Articles.Robert Stecker & Stephen Davies - 2010 - British Journal of Aesthetics 50 (3):307-312.
    In a recent essay, Jerrold Levinson defends his version of hypothetical intentionalism, 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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  20.  8
    Moderate Actual Intentionalism Defended.Robert Stecker - 2006 - Journal of Aesthetics and Art Criticism 64 (4):429-438.
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  21.  91
    Narrow Content: Fodor's Folly.Frederick R. Adams, David Drebushenko, Gary Fuller & Robert A. Stecker - 1990 - Mind and Language 5 (3):213-29.
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  22.  8
    Aesthetics and the Philosophy of Art.Robert Stecker - 2006 - Journal of Aesthetics and Art Criticism 64 (3):379-381.
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  23.  37
    Apparent, Implied, and Postulated Authors.Robert Stecker - 1987 - Philosophy and Literature 11 (2):258-271.
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  24. Artworks.Robert Stecker - 2001 - Mind 110 (438):565-569.
     
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  25. Aesthetics and the Philosophy of Art: An Introduction.Robert Stecker - 2005 - 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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  26. Plato.Robert Stecker - 2012 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. pp. 8-20.
  27.  43
    Epistemic Norms, Moral Norms, and Nature Appreciation.Robert Stecker - 2012 - Environmental Ethics 34 (3):247-264.
    In environmental aesthetics a variety of proposals have been advanced about relevant norms that constrain appropriate aesthetic appreciation of nature. Some of these proposals are about cognitive or epistemic norms in that the authors claim that nature ought to be cognized in certain ways or that we ought to form certain beliefs about nature rather than others, and that when we do so, it will significantly constrain our aesthetic appreciation of nature. Another proposal is that moral norms rule out certain (...)
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  28.  22
    The Interactions of Function and Aesthetic Value in Artifacts.Robert Stecker - 2019 - Grazer Philosophische Studien 96 (1):19-36.
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  29. What is Literature?Robert Stecker - 1996 - Revue Internationale de Philosophie 50 (198):681-694.
     
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  30. The Correct and the Appropriate in the Appreciation of Nature.Robert Stecker - 1997 - British Journal of Aesthetics 37 (4):393-402.
  31.  84
    The Boundaries of Art.Robert Stecker - 1990 - British Journal of Aesthetics 30 (3):266-272.
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  32. Interpretation and Construction: Art, Speech, and the Law.Robert Stecker - 2008 - 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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  33.  81
    The Constructivist's Dilemma.Robert Stecker - 1997 - Journal of Aesthetics and Art Criticism 55 (1):43-52.
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  34.  26
    Entangled Values: A Reply to Dodd.Robert Stecker - 2015 - British Journal of Aesthetics 55 (3):393-398.
    It is not uncommon these days to claim that we should distinguish between artistic value and other types of value, including aesthetic value. A problem for this proposal is posed by the fact that artworks have valuable properties that are no part of its artistic value. Unless there is a way to distinguish artistically valuable properties from other valuable properties, some will be unconvinced that the distinction is viable.1 For this reason, I have proposed a test for artistic value to (...)
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  35. Lorand and Kant on Free and Dependent Beauty.Robert Stecker - 1990 - British Journal of Aesthetics 30 (1):71-74.
  36. Is the Constructivist's Dilemma Flawed? Reply to Percival.Robert Stecker - 2002 - Journal of Aesthetics and Art Criticism 60 (1):81–82.
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  37. Interpretation.Robert Stecker - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  38.  64
    Expressiveness and Expression in Music and Poetry.Robert Stecker - 2001 - Journal of Aesthetics and Art Criticism 59 (1):85-96.
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  39. Definition of Art.Robert Stecker - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 136--154.
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  40.  34
    Testing Artistic Value: A Reply to Dodd.Robert Stecker - 2013 - Journal of Aesthetics and Art Criticism 71 (3):288-289.
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  41.  50
    Schiffer on Modes of Presentation.Fred Adams, Robert Stecker & Gary Fuller - 1993 - Analysis 53 (1):30 - 34.
  42.  55
    Historical Functionalism or the Four Factor Theory.Robert Stecker - 1994 - British Journal of Aesthetics 34 (3):255-265.
  43.  11
    David Davies, Art as Performance.Robert Stecker & John Dilworth - 2005 - Journal of Aesthetics and Art Criticism 63 (1):75-80.
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  44. Do All Valuable Artworks Possess Aesthetic Value?Robert Stecker - 2010 - Annales Philosophici 1:83-90.
    This paper focuses on the most widely accepted candidate for the essential aspect of artistic value: aesthetic value. The idea that aesthetic value pervades artworks that are valuable at all, was put into doubt by a number of artistic movements that arose in the twentieth century such a Dada and its descendants including conceptual art. Recently, a number of philosophers have tried to resurrect aesthetic essentialism, as I will call the idea that aesthetic value is at the core of artistic (...)
     
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  45.  43
    The Role of Intention and Convention in Interpreting Artworks.Robert Stecker - 1993 - Southern Journal of Philosophy 31 (4):471-489.
  46. The End of an Institutional Definition of Art.Robert Stecker - 1986 - 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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  47.  64
    Art, Emotion and Ethics by Gaut, Berys.Robert Stecker - 2008 - Journal of Aesthetics and Art Criticism 66 (2):199–201.
  48.  58
    Thomas Reid on the Moral Sense.Robert Stecker - 1987 - The Monist 70 (4):453-464.
    In this paper, I state Thomas Reid’s views about the moral sense and his criticism of the moral-sense theories of Francis Hutcheson and David Hume. I argue that Reid’s views about the moral sense has a distinct advantage over Hutcheson’s while they offer a viable alternative to Hume’s.
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  49.  92
    Davies on the Musical Expression of Emotion.Robert Stecker - 1999 - British Journal of Aesthetics 39 (3):273-281.
  50.  29
    Functional Beauty – Glen Parsons and Allen Carlson.Robert Stecker - 2011 - Philosophical Quarterly 61 (243):439-442.
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