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Robert Stecker [111]Robert A. Stecker [1]
  1.  76
    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.  85
    Tacit Knowledge.Christina Graves, Jerrold J. Katz, Yuji Nishiyama, Scott Soames, Robert Stecker & Peter Tovey - 1973 - Journal of Philosophy 70 (11):318-330.
  4.  87
    Vacuous Singular Terms.Fred Adams & Robert Stecker - 1994 - Mind and Language 9 (4):387-401.
  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.  15
    Art as Performance.Robert Stecker - 2005 - Journal of Aesthetics and Art Criticism 63 (1):77-80.
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  7.  96
    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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  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 Stecker - 2006 - Journal of Aesthetics and Art Criticism 64 (4):429-438.
  10.  48
    Methodological Questions About the Ontology of Music.Robert Stecker - 2009 - Journal of Aesthetics and Art Criticism 67 (4):375 - 386.
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  11. The Semantics of Thought.Frederick R. Adams, Robert A. Stecker & Gary Fuller - 1992 - Pacific Philosophical Quarterly 73 (4):375-389.
  12.  60
    Thoughts Without Objects.Fred Adams, Gary Fullerd & Robert Stecker - 1993 - Mind and Language 8 (1):90-104.
  13.  29
    The Interactions of Function and Aesthetic Value in Artifacts.Robert Stecker - 2019 - Grazer Philosophische Studien 96 (1):19-36.
    In this paper, I ask: what is the role of function in appreciating artifacts? I will argue that several distinguishable functions are relevant to the aesthetic appreciation of artifacts, and sometimes more than one of these must be taken into account to adequately appreciate these objects. Second, I will claim that, while we can identify something we might call functional aesthetic value or functional beauty, the aesthetic properties that contribute to this value neither need to enhance the object’s performance of (...)
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  14.  96
    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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  15. Art Interpretation.Robert Stecker - 1994 - Journal of Aesthetics and Art Criticism 52 (2):193-206.
  16.  33
    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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  17.  92
    Narrow Content: Fodor's Folly.Fred Adams, David Drebushenko, Gary Fuller & Robert Stecker - 1990 - Mind and Language 5 (3):213-29.
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  18.  58
    Artistic Value Defended.Robert Stecker - 2012 - Journal of Aesthetics and Art Criticism 70 (4):355-362.
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  19.  37
    Apparent, Implied, and Postulated Authors.Robert Stecker - 1987 - Philosophy and Literature 11 (2):258-271.
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  20. 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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  21.  85
    The Boundaries of Art.Robert Stecker - 1990 - British Journal of Aesthetics 30 (3):266-272.
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  22. The Correct and the Appropriate in the Appreciation of Nature.Robert Stecker - 1997 - British Journal of Aesthetics 37 (4):393-402.
  23.  9
    Aesthetics and the Philosophy of Art.Robert Stecker - 2006 - Journal of Aesthetics and Art Criticism 64 (3):379-381.
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  24.  45
    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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  25.  8
    Moderate Actual Intentionalism Defended.Robert Stecker - 2006 - Journal of Aesthetics and Art Criticism 64 (4):429-438.
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  26.  78
    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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  27. Lorand and Kant on Free and Dependent Beauty.Robert Stecker - 1990 - British Journal of Aesthetics 30 (1):71-74.
  28. Artworks.Robert Stecker - 2001 - Mind 110 (438):565-569.
     
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  29.  82
    The Constructivist's Dilemma.Robert Stecker - 1997 - Journal of Aesthetics and Art Criticism 55 (1):43-52.
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  30. Plato.Robert Stecker - 2012 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. pp. 8-20.
  31.  31
    Functional Beauty – Glen Parsons and Allen Carlson.Robert Stecker - 2011 - Philosophical Quarterly 61 (243):439-442.
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  32.  30
    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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  33.  66
    Expressiveness and Expression in Music and Poetry.Robert Stecker - 2001 - Journal of Aesthetics and Art Criticism 59 (1):85-96.
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  34.  51
    Schiffer on Modes of Presentation.Fred Adams, Robert Stecker & Gary Fuller - 1993 - Analysis 53 (1):30 - 34.
  35.  56
    Historical Functionalism or the Four Factor Theory.Robert Stecker - 1994 - British Journal of Aesthetics 34 (3):255-265.
  36.  43
    The Role of Intention and Convention in Interpreting Artworks.Robert Stecker - 1993 - Southern Journal of Philosophy 31 (4):471-489.
  37. Interpretation.Robert Stecker - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  38. 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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  39.  36
    Testing Artistic Value: A Reply to Dodd.Robert Stecker - 2013 - Journal of Aesthetics and Art Criticism 71 (3):288-289.
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  40.  9
    Interpretation Radical but Not Unruly: The New Puzzle of the Arts and History.Robert Stecker - 1996 - Journal of Aesthetics and Art Criticism 54 (2):191-193.
    With this challenging work, Joseph Margolis continues the project begun in _The Flux of History and the Flux of Science_. Tackling one of philosophy's master themes, he develops the controversial thesis that the world is a flux. Here he applies this doctrine to Western theories of history and the interpretation of cultural phenomena—offering the first sustained analysis of the logic, methodology, and metaphysics of interpretation committed to a thoroughgoing relativism and the historicized structure of cultural phenomena. Versed in Anglo-American and (...)
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  41.  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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  42.  25
    Plato's Expression Theory of Art.Robert Stecker - 1992 - Journal of Aesthetic Education 26 (1):47-52.
    There is no full-fledged definition of art in plato's writings. If one looks for the beginnings of a theory of art in plato, i argue that one can find hints of an expression theory as easily as one can find hints of a mimetic theory. If we are to fully understand what plato thought about art, we must attend to the first sort of hints atleast as carefully as to the second. This is especially needed to understand plato's criteria of (...)
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  43.  33
    Thomas Reid's Philosophy of Action.Robert Stecker - 1992 - Philosophical Studies 66 (2):197 - 208.
  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.  28
    Incompatible Interpretations.Robert Stecker - 1992 - Journal of Aesthetics and Art Criticism 50 (4):291-298.
  46.  10
    Philosophies of Arts: An Essay in Differences.Robert Stecker - 1997 - Journal of Aesthetics and Art Criticism 57 (4):476-478.
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  47.  27
    Objectivity and Interpretation.Robert Stecker - 1995 - Philosophy and Literature 19 (1):48-59.
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  48.  66
    Art, Emotion and Ethics by Gaut, Berys.Robert Stecker - 2008 - Journal of Aesthetics and Art Criticism 66 (2):199–201.
  49.  18
    Expression of Emotion in (Some of) the Arts.Robert Stecker - 1984 - Journal of Aesthetics and Art Criticism 42 (4):409-418.
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  50.  12
    David Davies, Art as Performance.Robert Stecker & John Dilworth - 2005 - Journal of Aesthetics and Art Criticism 63 (1):75-80.
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