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Stephanie Ross [32]Stephanie A. Ross [6]
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Stephanie Ross
University of Missouri, St. Louis
  1.  74
    Humean Critics: Real or Ideal?Stephanie Ross - 2008 - British Journal of Aesthetics 48 (1):20-28.
    This paper attempts a rational reconstruction of the Humean notion of an ideal critic. Claiming that the traits of practice and comparison can only arise through the gradual accumulation of experience, I argue that Humean critics are real, not ideal. After discussing the nature of perfection and the relation of delicacy to the other Human traits, I propose two supplements to Hume's list: imaginative fluency and emotional responsiveness. I close by examining a trio of challenges to my view and supporting (...)
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  2.  7
    Perception: A Representative Theory.Stephanie A. Ross & Frank Jackson - 1978 - Philosophical Review 87 (4):623.
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  3.  13
    Comparing and Sharing Taste: Reflections on Critical Advice.Stephanie Ross - 2012 - Journal of Aesthetics and Art Criticism 70 (4):363-371.
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  4. How Words Hurt: Attitude, Metaphor, and Oppression.Stephanie Ross - 1981 - In Mary Vetterling-Braggin (ed.), Sexist Language: A Modern Philosophical Analysis. Littlefield, Adams. pp. 194--213.
     
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  5.  21
    What Gardens Mean.Stephanie Ross - 1998 - University of Chicago Press.
    This examination of gardens--particulary English gardens of the eighteenth century--offers possible links between garden design and the arts.
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  6.  48
    Conducting And Musical Interpretation.Stephanie A. Ross & Jennifer Judkins - 1996 - British Journal of Aesthetics 36 (1):16-29.
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  7. What Photographs Can't Do.Stephanie Ross - 1982 - Journal of Aesthetics and Art Criticism 41 (1):5-17.
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  8.  1
    What Gardens Mean.Stephanie Ross - 1999 - Journal of Aesthetics and Art Criticism 57 (3):376-377.
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  9. Humean Critics: Real or Ideal?: Articles.Stephanie Ross - 2008 - British Journal of Aesthetics 48 (1):20-28.
    This paper attempts a rational reconstruction of the Humean notion of an ideal critic. Claiming that the traits of practice and comparison can only arise through the gradual accumulation of experience, I argue that Humean critics are real, not ideal. After discussing the nature of perfection and the relation of delicacy to the other Human traits, I propose two supplements to Hume's list: imaginative fluency and emotional responsiveness. I close by examining a trio of challenges to my view and supporting (...)
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  10. T. J. Tiffey, Tolstoy's 'What Is Art?'. [REVIEW]Stephanie Ross - 1986 - Philosophy in Review 6 (4):144-146.
     
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  11.  81
    Ideal Observer Theories in Aesthetics.Stephanie Ross - 2011 - Philosophy Compass 6 (8):513-522.
    I examine the prospects for an ideal observer theory in aesthetics modelled on Roderick Firth’s 1952 paper ‘Ethical Absolutism and the Ideal Observer’. The first generation of philosophers to consider an Ideal Aesthetic Observer found fault with Firth’s omniscience condition; more recent writers have criticized the affective component of an IAO’s response. In the end, most discussants reject the possibility of an IAO theory. Though the IAO theory gets the model wrong for answering meta‐aesthetic questions, revisiting the debate prompts useful (...)
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  12.  21
    Landscape Perception: Theory-Laden, Emotionally Resonant, Politically Correct.Stephanie Ross - 2005 - Environmental Ethics 27 (3):245-263.
    Our primal ability to see one thing in terms of another shapes our landscape perception. Although modes of appreciation are tied to personal interests and situations, there are many lines of conflict and incompatibility between these modes. A religious point of view is unacceptable to those without religious beliefs. Background knowledge is similarly required for taking an arts or science-based view of landscape, although this knowledge can be acquired. How to cultivate responses grounded in imagination, emotion, and instinct is less (...)
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  13.  7
    Paradoxes and Puzzles: Appreciating Gardens and Urban Nature.Stephanie Ross - 2006 - Contemporary Aesthetics 4.
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  14.  28
    Student Perceptions of Dual Relationships Between Faculty and Students.Deborah L. Holmes, Patricia A. Rupert, Stephanie A. Ross & Wendy E. Shapera - 1999 - Ethics and Behavior 9 (2):79 – 107.
  15.  34
    Caricature.Stephanie Ross - 1974 - The Monist 58 (2):285-293.
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  16.  13
    On Goodman’s Query.Stephanie Ross - 1981 - Southern Journal of Philosophy 19 (3):375-387.
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  17.  62
    Ut Hortus Poesis—Gardening and Her Sister Arts in Eighteenth-Century England.Stephanie Ross - 1985 - British Journal of Aesthetics 25 (1):17-32.
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  18.  17
    Women, Morality, and Fiction.Jenefer Robinson & Stephanie Ross - 1990 - Hypatia 5 (2):76-90.
    We apply Carol Gilligan's distinction between a "male" mode of moral reasoning, focussed on justice, and a "female" mode, focussed on caring, to the reading of literature. Martha Nussbaum suggests that certain novels are works of moral philosophy. We argue that what Nussbaum sees as the special ethical contribution of such novels is in fact training in the stereotypically female mode of moral concern. We show this kind of training is appropriate to all readers of these novels, not just to (...)
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  19.  17
    Painting the Passions: Charles LeBrun's "Conférence Sur l'Expression".Stephanie Ross - 1984 - Journal of the History of Ideas 45 (1):25.
  20.  40
    The Picturesque: An Eighteenth-Century Debate.Stephanie Ross - 1987 - Journal of Aesthetics and Art Criticism 46 (2):271-279.
  21.  2
    The Languages of LandscapeLandscape and PowerToil and Plenty: Images of the Agricultural Landscape in England 1780-1890The Idea of the English Landscape Painter: Genius as Alibi in the Early Nineteenth CenturyArt and Science in German Landscape Painting 1770-1840The Spectacle of Nature: Landscape and Bourgeois Culture in Nineteenth-Century France. [REVIEW]Stephanie Ross, Mark Roskill, W. J. T. Mitchell, Christiana Payne, Kay Dian Kriz, Timothy F. Mitchell & Nicholas Green - 2000 - Journal of Aesthetics and Art Criticism 58 (4):407.
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  22.  10
    Chance, Constraint, and Creativity: The Awfulness of Modern Music.Stephanie Ross - 1985 - Journal of Aesthetic Education 19 (3):21.
  23.  17
    Art and Allusion.Stephanie Ross - 1981 - Journal of Aesthetics and Art Criticism 40 (1):59-70.
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  24.  8
    Context, Causality, and Appreciation.Stephanie Ross - 2013 - Behavioral and Brain Sciences 36 (2):155-156.
    I applaud and elaborate on the contextualism at the heart of Bullot & Reber's (B&R's) theory, challenge two aspects of the appreciative structure they posit (the causal reasoning that allegedly underlies the design stance and the segregation of the component stages), suggest that expert and novice appreciators operate differently, and question the degree to which B&R's final theory is open to empirical investigation.
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  25.  4
    The Century of Taste.Stephanie A. Ross & George Dickie - 1998 - Philosophical Review 107 (3):459.
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  26.  12
    Review of Glenn Parsons, Allen Carlson, Functional Beauty[REVIEW]Stephanie Ross - 2009 - Notre Dame Philosophical Reviews 2009 (7).
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  27.  1
    Thinking About Music. [REVIEW]Stephanie Ross - 1986 - Journal of Aesthetic Education 20 (1):126.
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  28.  9
    When Philosophers Want to Have It All: Comments on Ron Moore's Syncretic Theory of Natural Beauty.Stephanie Ross - 2009 - Ethics, Place and Environment 12 (3):343-349.
    Ronald Moore's new book Natural Beauty: A Theory of Aesthetics Beyond the Arts seeks to offer up an account of beauty in nature rather than the beauty of nature. Moore claims his is a syncretic theory. That is, it combines the best parts of competing theories into a single comprehensive account of, in this case, our judgments of natural beauty. The syncretic impulse is a common one in philosophy. Seeing many theories, each with some strong points yet none successful overall, (...)
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  29.  9
    Philosophy, Literature, and the Death of Art.Stephanie Ross - 1989 - Philosophical Papers 18 (1):95-115.
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  30.  5
    Gardens' Powers.Stephanie Ross - 1999 - Journal of Aesthetic Education 33 (3):4.
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  31.  4
    Style in Art.Stephanie Ross - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 228.
  32.  1
    Grant, James. The Critical Imagination. Oxford University Press, 2013, 192 Pp., $55.00 Cloth. [REVIEW]Stephanie Ross - 2014 - Journal of Aesthetics and Art Criticism 72 (4):453-456.
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  33. Anthony Savile, Aesthetic Reconstructions: The Seminal Writings of Lessing, Kant and Schiller Reviewed By.Stephanie Ross - 1990 - Philosophy in Review 10 (9):383-387.
  34. A Study of Self-Deception. [REVIEW]Stephanie Ross - 1983 - Philosophical Review 92 (4):630.
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  35. Landscape Perception: Theory-Laden, Emotionally Resonant, Politically Correct.Stephanie Ross - 2005 - Environmental Ethics 27 (3):245-263.
    Our primal ability to see one thing in terms of another shapes our landscape perception. Although modes of appreciation are tied to personal interests and situations, there are many lines of conflict and incompatibility between these modes. A religious point of view is unacceptable to those without religious beliefs. Background knowledge is similarly required for taking an arts or science-based view of landscape, although this knowledge can be acquired. How to cultivate responses grounded in imagination, emotion, and instinct is less (...)
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  36. Michael Mitias, Ed., The Possibility of the Aesthetic Experience. [REVIEW]Stephanie A. Ross - 1988 - Philosophy in Review 8 (1):27-29.
     
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  37. Philosopher, Teacher, Musician: Perspectives on Music Education.Stephanie Ross & Estelle R. Jorgensen - 1995 - Journal of Aesthetic Education 29 (4):113.
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