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Susan L. Feagin [41]Susan Louise Feagin [1]
  1.  27
    The Nature of Fiction.Susan L. Feagin - 1992 - Philosophical Review 101 (4):948.
  2. The Pleasures of Tragedy.Susan L. Feagin - 1983 - American Philosophical Quarterly 20 (1):95 - 104.
    I ARGUE THAT WE RECEIVE PLEASURE FROM TRAGEDIES BECAUSE WE ARE PLEASED TO FIND OURSELVES RESPONDING IN AN UNPLEASANT WAY TO HUMAN SUFFERING AND INJUSTICE. THE PLEASURE IS THUS A METARESPONSE, AND REFLECTS FEELINGS WHICH ARE AT THE BASIS OF MORALITY. THIS HELPS EXPLAIN WHY TRAGEDY IS SUPPOSED TO BE A HIGHER ART FORM THAN COMEDY, AND PROVIDES A NEW WAY OF SEEING THE RELATIONSHIP BETWEEN THE MORALITY OF AN ARTWORK AND ITS VALUE.
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  3.  64
    Presentation and Representation.Susan L. Feagin - 1998 - Journal of Aesthetics and Art Criticism 56 (3):234-240.
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  4. Reading with Feeling: The Aesthetics of Appreciation.Susan L. Feagin - 1998 - Philosophical Quarterly 48 (193):557-558.
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  5.  93
    On Noël Carroll on Narrative Closure.Susan L. Feagin - 2007 - Philosophical Studies 135 (1):17-25.
    This paper examines various claims by Noël Carroll about narrative closure and its relationship to narrative connections, which are, roughly, causal connections generously conceived to include necessary conditions for sufficient conditions for an effect. I propose supplementing the expanded notion of a cause with Michael Bratman’s notion of a psychological connection to account for the particular role that human agents play in narratives. A novel and a film are used as examples to illustrate how the concept of a psychological connection (...)
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  6.  70
    Paintings and Their Places.Susan L. Feagin - 1995 - Australasian Journal of Philosophy 73 (2):260 – 268.
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  7. Monsters, Disgust and Fascination.Susan L. Feagin & Noel Carroll - 1992 - Philosophical Studies 65 (1-2):75 - 84.
  8. Imagining Emotions and Appreciating Fiction.Susan L. Feagin - 1988 - Canadian Journal of Philosophy 18 (3):485 - 500.
    The capacity of a work of fictional literature to elicit emotional responses is part of what is valuable about it, and having emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which occur in (...)
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  9.  4
    Reading with Feeling: The Aesthetics of Appreciation.Iris M. Yob & Susan L. Feagin - 1996 - Journal of Aesthetic Education 32 (4):116.
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  10.  33
    Critical Study: Reading and Performing.Susan L. Feagin - 2008 - British Journal of Aesthetics 48 (1):89-97.
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  11.  60
    Film Appreciation and Moral Insensitivity.Susan L. Feagin - 2010 - Midwest Studies in Philosophy 34 (1):20-33.
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  12.  14
    Empathizing as Simulating.Susan L. Feagin - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press. pp. 149.
  13. Aesthetics.Susan L. Feagin & Patrick Maynard (eds.) - 1997 - Oxford University Press.
    Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan Sontag. (...)
     
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  14.  68
    Some Pleasures of Imagination.Susan L. Feagin - 1984 - Journal of Aesthetics and Art Criticism 43 (1):41-55.
  15.  91
    On Defining and Interpreting Art Intentionalistically.Susan L. Feagin - 1982 - British Journal of Aesthetics 22 (1):65-77.
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  16.  7
    Critical Study: Reading and Performing: Articles.Susan L. Feagin - 2008 - British Journal of Aesthetics 48 (1):89-97.
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  17.  5
    Showing Pictures: Aesthetics and the Art Gallery.Susan L. Feagin & Craig Allen Subler - 1993 - Journal of Aesthetic Education 27 (3):63-72.
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  18.  19
    Introduction.Susan L. Feagin - 2007 - Journal of Aesthetics and Art Criticism 65 (1):1–9.
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  19.  32
    Mill and Edwards on the Higher Pleasures.Susan L. Feagin - 1983 - Philosophy 58 (224):244 - 252.
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  20. Sublime.Susan L. Feagin - 1995 - In Audi Robert (ed.), The Cambridge Dictionary of Philosophy. Cambridge University Press. pp. 774.
     
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  21.  62
    Book Review: Reading with Feeling. [REVIEW]Susan L. Feagin - 1997 - Philosophy and Literature 21 (1).
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  22.  29
    Incompatible Interpretations of Art.Susan L. Feagin - 1982 - Philosophy and Literature 6 (1-2):133-146.
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  23.  22
    Reading with Feeling: The Aesthetics of Appreciation.Ira Newman & Susan L. Feagin - 1998 - Philosophical Review 107 (2):317.
    Susan Feagin’s book offers a welcome redirection in the philosophical understanding of fictional literature as an art. In recent decades the appreciation of literature has been reduced by many theorists and critics to considering what literary works reveal about either the societies in which they were produced, moral life in general, or conflicts in class, race, and gender. On a more abstract plane, questions about the logic of interpretation have preoccupied many philosophical analysts.
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  24.  57
    Beardsley for the Twenty-First Century.Susan L. Feagin - 2010 - Journal of Aesthetic Education 44 (1):pp. 11-18.
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  25.  29
    For the Love of Beauty.Susan L. Feagin - 2008 - The European Legacy 13 (7):867-869.
  26.  39
    On Fictional Entities.Susan L. Feagin - 1983 - Philosophy and Literature 7 (2):240-243.
    This article critiques peter van inwagen's application of quinean ontology to the problem of whether fictional entities exist. It is argued that nothing is gained by considering fictional entities to be theoretical entities, And that van inwagen's claim that fictional entities 'hold' rather than 'have' certain properties does not avoid logical difficulties and is inconsistent with his commitment to quinean ontology.
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  27. Anne Sheppard, Aesthetics: An Introduction to the Philosophy of Art Reviewed By.Susan L. Feagin - 1988 - Philosophy in Review 8 (11):444-448.
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  28.  11
    Olfaction and Space in the Theatre.Susan L. Feagin - 2018 - British Journal of Aesthetics 58 (2):131-146.
    My general topic is whether limitations in olfaction’s conceptual and generally mental capabilities hinder its suitability for playing significant and sophisticated roles in theatrical productions of the standard narrative type. This is a big question and I only scratch the surface here. I begin with a brief look at smell’s most prominent roles in the theatre, as illustration and to evoke mood and atmosphere. Next, I consider the relation between smell and the experience of space, looking first at a kind (...)
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  29.  52
    Motives and Literary Criticism.Susan L. Feagin - 1980 - Philosophical Studies 38 (4):403 - 418.
    I argue that it is implausible to think that motives, As distinguished from intentions, Are relevant to literary criticism. The considerations leading to this conclusion offer some insights into the continuing debate over the relevance of artist's intentions to criticism. I also examine briefly why motives are not relevant to aesthetic judgments even though they are (plausibly) relevant to ethical ones. Some views of anscombe on intentions are discussed.
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  30.  37
    Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art (Review).Susan L. Feagin - 2007 - Philosophy and Literature 31 (2):420-422.
  31.  23
    Davies, Stephen. The Artful Species: Aesthetics, Art, and Evolution. Oxford University Press, 2012, 301 Pp., $45.00 Cloth. [REVIEW]Susan L. Feagin - 2014 - Journal of Aesthetics and Art Criticism 72 (2):203-206.
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  32.  18
    Philosophy and Art Education.Susan L. Feagin - 1995 - Journal of Aesthetic Education 29 (2):7.
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  33.  15
    Existentialism and Searching for an Exit.Susan L. Feagin - 2009 - In Noël Carroll & Lester H. Hunt (eds.), Philosophy in the Twilight Zone. Wiley-Blackwell.
  34.  20
    Pictorial Representation and the Act of Drawing.Susan L. Feagin - 1987 - American Philosophical Quarterly 24 (2):161 - 170.
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  35. Marcia Eaton, Basic Issues in Aesthetics Reviewed By.Susan L. Feagin - 1988 - Philosophy in Review 8 (11):444-448.
     
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  36.  9
    Discovery Plots in Tragedy.Susan L. Feagin - 2011 - In Noel Carroll & John Gibson (eds.), Narrative, Emotion, and Insight. Penn State University. pp. 154.
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  37. Andrew Harrison, Ed., Philosophy and the Visual Arts: Seeing and Abstracting Reviewed By.Susan L. Feagin - 1988 - Philosophy in Review 8 (8):304-306.
     
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  38. John C. Gilmour, Picturing the World Reviewed By.Susan L. Feagin - 1987 - Philosophy in Review 7 (1):16-19.
     
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  39. Global Theories of the Arts and Aesthetics.Susan L. Feagin (ed.) - 2007 - Blackwell.
    This collection of papers focuses on theories and practices in relation to the arts around the globe, in particular, those that have been ignored or marginalized by analytic or Anglo-American aesthetics and philosophy of art. The intention is to explain specific ways that the concepts of the aesthetic and of the arts might be enriched and enhanced. Indeed, in some cases the participation in artistic practices and the experience of art are deeply embedded in one’ s sense of self, in (...)
     
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  40. Thomas Puttfarken, Roger de Piles' Theory of Art Reviewed By.Susan L. Feagin - 1987 - Philosophy in Review 7 (1):16-19.
     
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  41. Can We Learn From Art?Iris Murdoch, Martha Nussbaum, Michael Norman & Susan L. Feagin - 1998 - In Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. Blackwell. pp. 178.
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