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Stephen Davies [128]S. Davies [29]Siriol Davies [4]Susanne Davies [3]
Simon Davies [3]Stevan L. Davies [2]Sarah R. Davies [2]Stevie Davies [1]

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Profile: Sally Josephine Davies
Profile: Simon Francis James Davies (University of York)
Profile: Sarah Davies
Profile: Sophie Davies (University of Bath)
Profile: Stephanie Davies (University of Wales, Bangor)
Profile: Steve Davies
Profile: Seline Davies
  1.  30
    The Artful Species: Aesthetics, Art, and Evolution.Stephen Davies - 2012 - Oxford University Press.
    Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?
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  2. Musical Works and Performances: A Philosophical Exploration.Stephen Davies - 2001 - Oxford University Press.
    What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...)
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  3.  68
    Musical Meaning and Expression.Stephen Davies - 1994 - Cornell University Press.
    But what does music mean, and how does it mean?Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in ...
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  4. The Philosophy of Art.Stephen Davies & Philip Alperson - 2015 - Wiley-Blackwell.
    Now available in a fully revised and updated second edition, this accessible and insightful introduction outlines the central theories and ongoing debates in the philosophy of art. Covers a wide range of topics, including the definition and interpretation of art, the connections between artistic and ethical judgment, and the expression and elicitation of emotions through art Includes discussion of prehistoric, non-Western, and popular mass arts, extending the philosophical conversation beyond the realm of Fine Art Details concrete applications of complex theoretical (...)
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  5. Definitions of Art.Stephen Davies - 1991 - Cornell University Press.
  6.  85
    Infectious Music: Music-Listener Emotional Contagion.Stephen Davies - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press.
  7. Artistic Expression and the Hard Case of Pure Music.Stephen Davies - 2006 - In Matthew Kieran (ed.), Contemporary debates in aesthetics and the philosophy of art. Blackwell.
    In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...)
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  8.  42
    Themes in the Philosophy of Music.Stephen Davies - 2003 - Oxford University Press.
    Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single type, (...)
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  9. Life is a Passacaglia.Stephen Davies - 2009 - Philosophy and Literature 33 (2):315-328.
    Arthur C. Danto taught that an artwork’s identity and content depend on "an atmosphere of theory the eye cannot de[s]cry" (1964:580). By "theory", he did not mean the ideas developed by philosophers of art. His point was that an artwork can be properly recognized and appreciated only when seen in relation to the heritage of works, writings, practices, genres, and conventions that form the ground on which it stands out as subject. In brief, the work must be seen against the (...)
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  10. Musical Meaning in a Broader Perspective.Constantijn Koopman & Stephen Davies - 2001 - Journal of Aesthetics and Art Criticism 59 (3):261–273.
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  11.  99
    The Cluster Theory of Art.Stephen Davies - 2004 - British Journal of Aesthetics 44 (3):297-300.
    Berys Gaut has recently defended a cluster account of art. He proposes it as superior to other anti-essentialist positions. I argue that his defence of this claim is unconvincing. Not only is the cluster theory consistent with the current crop of disjunctive definitions, it is at its most plausible when seen in such terms.
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  12. Relativism in Interpretation.Stephen Davies - 1995 - Journal of Aesthetics and Art Criticism 53 (1):8-13.
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  13.  23
    A Companion to Aesthetics.Stephen Davies (ed.) - 2009 - Wiley.
    In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in this area of aesthetics. Written by prominent scholars covering a wide-range of key topics in aesthetics and the philosophy of art Features revised and expanded entries from the first edition, as well as new chapters on recent developments in aesthetics and a larger number of essays on non-Western thought about art Unique to this edition are six overview essays on (...)
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  14.  80
    On Richard Wollheim.S. Davies, R. Hopkins, J. Robinson & M. Padro - 2004 - British Journal of Aesthetics 44 (3):213-225.
    There was a deep continuity in Wollheim’s thought from his book on F. H. Bradley onward. His notion of the concept of art as deeply interiorized was inextricable from his sense of the psychological unity of the mind and the historical continuity of artistic tradition, seen on analogy with an inherited language. His study of pictorial representation pivoted on the innate psychological capacity of ‘seeing-in’, perceiving the represented subject in a surface from which it was seen as distinct but to (...)
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  15. Book Review: Sex and Pleasure in Western Culture. [REVIEW]Susanne Davies - 2007 - Thesis Eleven 88 (1):136-139.
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  16.  63
    Aesthetic Judgements, Artworks and Functional Beauty.Stephen Davies - 2006 - Philosophical Quarterly 56 (223):224-241.
    I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two (...)
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  17.  54
    On Defining Music.Stephen Davies - 2012 - The Monist 95 (4):535-555.
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  18.  3
    Narrative, Nanotechnology and the Accomplishment of Public Responses: A Response to Thorstensen.Matthew Kearnes, Phil Macnaghten & Sarah R. Davies - 2014 - NanoEthics 8 (3):241-250.
    In this paper, we respond to a critique by Erik Thorstensen of the ‘Deepening Ethical Engagement and Participation in Emerging Nanotechnologies’ project concerning its ‘realist’ treatment of narrative, its restricted analytical framework and resources, its apparent confusion in focus and its unjustified contextualisation and overextension of its findings. We show that these criticisms are based on fairly serious misunderstandings of the DEEPEN project, its interdisciplinary approachand its conceptual context. Having responded to Thorstensen’s criticisms, we take the opportunity to clarify and (...)
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  19.  20
    Philosophical Perspectives on Art.Stephen Davies - 2007 - New York;Oxford University Press.
    Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing so? (...)
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  20. Why Listen to Sad Music If It Makes One Feel Sad?Stephen Davies - 1997 - In Jenefer Robinson (ed.), Music & Meaning. Cornell University Press.
  21. Authors' Intentions, Literary Interpretation, and Literary Value.Stephen Davies - 2006 - British Journal of Aesthetics 46 (3):223-247.
    I discuss three theories regarding the interpretation of fictional literature: actual intentionalism (author's intentions constrain how their works are to be interpreted), hypothetical intentionalism (interpretations are justified as those most likely intended by a postulated author), and the value-maximizing theory (interpretations presenting the work in the most favourable light are to be preferred). I claim that actual intentionalism cannot account for the appropriateness or legitimacy of some interpretations, or alternatively that it must be weakened to the point that the considerations (...)
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  22.  21
    Artists' Intentions and Artwork Meanings: Some Complications.Stephen Davies - 2013 - Behavioral and Brain Sciences 36 (2):138 - 139.
    Artists' intentions are among the primary data retrieved by art appreciators. However, artistic creation is not always deliberate; artists sometimes fail in their intentions; artists' achievements depend on artworld roles, not only intentions; factors external to the artist contribute to artwork meaning; artworks stand apart from their creators; and interpretation need not be exclusively concerned with recovering intended meaning.
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  23.  11
    Selective Processing of Threat Cues in Subjects with Panic Attacks.Anke Ehlers, Jürgen Margraf, Sylvia Davies & Walton T. Roth - 1988 - Cognition and Emotion 2 (3):201-219.
  24.  95
    The Know-How of Musical Performance.Stephen Davies - 2004 - Philosophy of Music Education Review 12 (2):154-159.
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  25. Violins or Viols?: A Reason to Fret.Stephen Davies - 1990 - Journal of Aesthetics and Art Criticism 48 (2):147-151.
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  26. The Ontology of Musical Works and the Authenticity of Their Performances.Stephen Davies - 1991 - Noûs 25 (1):21-41.
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  27. Aesthetic Theory. Definitions of Art.Stephen Davies - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  28.  61
    First Art and Art's Definition.Stephen Davies - 1997 - Southern Journal of Philosophy 35 (1):19-34.
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  29.  77
    Aesthetics and Subjectivity: From Kant to Nietzsche.Stephen Davies, Robert Hopkins, Jenefer Robinson & Elisabeth Schellekens - 2004 - British Journal of Aesthetics 44 (3):304-307.
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  30. ""John Cage's 4'33": Is It Music?Stephen Davies - 1997 - Australasian Journal of Philosophy 75 (4):448 – 462.
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  31.  39
    Defining Art and Artworlds.Stephen Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (4):375-384.
    Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...)
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  32.  88
    The Mess Inside: Narrative, Emotion, and the Mind.S. Davies - 2013 - British Journal of Aesthetics 53 (2):247-249.
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  33.  29
    How Ancient is Art?Stephen Davies - 2015 - Evental Aesthetics 4 (2):22-45.
    In this paper I suggest that music and dance of an artful kind could pre-date the emergence of our species by several hundred thousand years. Our progenitor, H. heidelbergensis, had the necessary physiological resources and social capacities. And she inherited older modes of moving and vocalizing that could have laid the foundations for dance and music. Admittedly, for her, these artistic activities would have been more about sharing and expressing emotions than about symbolizing abstract ideas or conveying complex thoughts. But (...)
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  34.  90
    Authenticity in Musical Performance.Stephen Davies - 1987 - British Journal of Aesthetics 27 (1):39-50.
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  35.  31
    Why Art Is Not a Spandrel.S. Davies - 2010 - British Journal of Aesthetics 50 (4):333-341.
    If one views humans’ creation and appreciation of art as grounded in our biological nature, it might be tempting to see art as a spandrel, as an adventitious by-product of some adaptation without adaptive significance in itself. Such a position connects art to our evolved human nature yet apparently avoids the demands of demonstrating how art behaviours enhanced the fitness of our ancestors in the Upper Paleolithic. In this paper I explore two arguments that count against the view that art (...)
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  36.  70
    Performing Musical Works Authentically: A Response to Dodd.S. Davies - 2013 - British Journal of Aesthetics 53 (1):71-75.
    A kind of musical authenticity Julian Dodd thinks has been neglected, interpretive authenticity, as he calls it, is intended to provide both an insightful and faithful understanding of the work. This kind of authenticity is distinguished from score compliance authenticity (a view I have defended) on grounds that an authentic musical interpretation can sometimes deliberately depart from the score. I argue that none of the four examples Dodd offers in favour of this hypothesis is uncontroversial. I have less faith than (...)
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  37.  23
    The Aesthetic Relevance of Authors' and Painters' Intentions.Stephen Davies - 1982 - Journal of Aesthetics and Art Criticism 41 (1):65-76.
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  38.  68
    The Expression of Emotion in Music.S. Davies - 1980 - Mind 89 (353):67-86.
  39.  74
    Transcription, Authenticity and Performance.Stephen Davies - 1988 - British Journal of Aesthetics 28 (3):216-227.
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  40.  23
    Profundity in Instrumental Music.Stephen Davies - 2002 - British Journal of Aesthetics 42 (4):343-356.
    According to Peter Kivy, to be profound, music would have to be about a profound subject that is treated in an exemplary way. Instrumental music does not satisfy this definition; usually it is not about anything humanly important, and when it is, it can convey no more than banalities. Like others, I argue against the propositional character of Kivy's ‘aboutness’ criterion; profundity can be revealed or displayed other than via statements and descriptions. I am less inclined than some of Kivy's (...)
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  41.  35
    Musical Works and Orchestral Colour.Stephen Davies - 2008 - British Journal of Aesthetics 48 (4):363-375.
    known as timbral sonicism, accepts that a musical work's orchestral colour is a factor in its identity, but denies that the use of the specified instruments is required for an authentic rendition of the work provided that sounds as of those instruments are achieved. This position has been defended by Julian Dodd. In arguing against his view, I appeal to empirical work showing that composers, musicians, and listeners typically hear through music to the actions that go into its production. In (...)
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  42.  93
    Is Music a Language of the Emotions?Stephen Davies - 1983 - British Journal of Aesthetics 23 (3):222-233.
  43.  98
    I Wanna Be Me: Rock Music and the Politics of Identity.Stephen Davies - 2003 - British Journal of Aesthetics 43 (2):199-201.
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  44.  71
    Kripke, Crusoe and Wittgenstein.S. Davies - 1988 - Australasian Journal of Philosophy 66 (March):52-66.
  45.  75
    Response to Robert Stecker.Stephen Davies - 1999 - British Journal of Aesthetics 39 (3):282-287.
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  46.  20
    Interpreting Contextualities.Stephen Davies - 1996 - Philosophy and Literature 20 (1):20-38.
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  47.  91
    Ellen Dissanayake's Evolutionary Aesthetic.Stephen J. Davies - 2004 - Biology and Philosophy 20 (2-3):291-304.
    Dissanayake argues that art behaviors – which she characterizes first as patterns or syndromes of creation and response and later as rhythms and modes of mutuality – are universal, innate, old, and a source of intrinsic pleasure, these being hallmarks of biological adaptation. Art behaviors proved to enhance survival by reinforcing cooperation, interdependence, and community, and, hence, became selected for at the genetic level. Indeed, she claims that art is essential to the fullest realization of our human nature. I make (...)
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  48.  78
    Functional Beauty Examined.Stephen Davies - 2010 - Canadian Journal of Philosophy 40 (2):315-332.
    In Functional Beauty, Glenn Parsons and Allen Carlson defend the importance of Functional Beauty—that is, the view that an item's fitness (or otherwise) for its proper function is a source of positive (or negative) aesthetic value—within a unified comprehensive aesthetic theory that encompasses art, the everyday, animals and organic nature, natural environments and inorganic nature, and artifacts. In the following section, I outline the main lines of argument presented in the book. I then criticize some of these arguments. I do (...)
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  49.  84
    Rock Versus Classical Music.Stephen Davies - 1999 - Journal of Aesthetics and Art Criticism 57 (2):193-204.
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  50.  11
    Ontology of Art.Stephen Davies - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 155--180.
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