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  1. On Social Facts.Margaret Gilbert - 1989 - Routledge.
    This book offers original accounts of a number of central social phenomena, many of which have received little if any prior philosophical attention. These phenomena include social groups, group languages, acting together, collective belief, mutual recognition, and social convention. In the course of developing her analyses Gilbert discusses the work of Emile Durkheim, Georg Simmel, Max Weber, David Lewis, among others.
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  • Music, Art, and Metaphysics.Jerrold Levinson - 2011 - Oxford University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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  • Defining Comics?Aaron Meskin - 2007 - Journal of Aesthetics and Art Criticism 65 (4):369–379.
  • Reference and Generality.P. T. Geach - 1962 - Ithaca: Cornell University Press.
  • Sameness and Substance Renewed.David Wiggins - 2001 - Cambridge University Press.
    In this book, which thoroughly revises and greatly expands his classic work Sameness and Substance, David Wiggins retrieves and refurbishes in the light of twentieth-century logic and logical theory certain conceptions of identity, of substance and of persistence through change that philosophy inherits from its past. In this new version, he vindicates the absoluteness, necessity, determinateness and all or nothing character of identity against rival conceptions. He defends a form of essentialism that he calls individuative essentialism, and then a form (...)
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  • Art and Intention: A Philosophical Study.Paisley Livingston - 2005 - Oxford University Press.
    In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...)
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  • Music, Art, and Metaphysics: Essays in Philosophical Aesthetics.Jerrold Levinson - 1990 - Cornell University Press.
    This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.
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  • On Action.Carl Ginet - 1990 - Cambridge, England: Cambridge University Press.
    This book deals with foundational issues in the theory of the nature of action, the intentionality of action, the compatibility of freedom of action with determinism, and the explantion of action. Ginet's is a volitional view: that every action has as its core a 'simple' mental action. He develops a sophisticated account of the individuation of actions and also propounds a challenging version of the view that freedom of action is incompatible with determinism.
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  • Reference and Generality: An Examination of Some Medieval and Modern Theories.Peter Thomas Geach - 1962 - Ithaca, NY and London: Cornell University Press.
  • The Creation of Art: New Essays in Philosophical Aesthetics.Berys Gaut & Paisley Livingston (eds.) - 2003 - Cambridge University Press.
    Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...)
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  • Essays on Actions and Events: Philosophical Essays Volume 1.Donald Davidson - 1970 - Clarendon Press.
  • Beyond Aesthetics: Philosophical Essays.Noël Carroll - 2001 - Cambridge University Press.
    Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with illustrative (...)
     
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  • Intention, Plans, and Practical Reason.Michael Bratman - 1987 - Cambridge: Cambridge, MA: Harvard University Press.
    What happens to our conception of mind and rational agency when we take seriously future-directed intentions and plans and their roles as inputs into further practical reasoning? The author's initial efforts in responding to this question resulted in a series of papers that he wrote during the early 1980s. In this book, Bratman develops further some of the main themes of these essays and also explores a variety of related ideas and issues. He develops a planning theory of intention. Intentions (...)
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  • Sortal Concepts and Essential Properties.Penelope Mackie - 1994 - Philosophical Quarterly 44 (176):311-333.
    The paper discusses sortal essentialism': the view that some sortal concepts represent essential properties of the things that fall under them. Although sortal essentialism is widely accepted, there is a dearth of theories purporting to explain why some sortals should have this characteristic. The paper examines two theories that do attempt this explanatory task, theories proposed by Baruch Brody and David Wiggins. It is argued that Brody's theory rests on an untenable principle about "de re" modality, while Wiggins' theory appeals (...)
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  • Validity in Interpretation.Eric Donald Hirsch - 1967 - Yale University Press.
    By demonstrating the uniformity and universality of the principles of valid interpretation of verbal texts of any sort, this closely reasoned examination provides a theoretical foundation for a discipline that is fundamental to virtually all humanistic studies. It defines the grounds on which textual interpretation can claim to establish objective knowledge, defends that claim against such skeptical attitudes as historicism and psychologism, and shows that many confusions can be avoided if the distinctions between meaning and significance, interpretation and criticism are (...)
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  • The Death and Resurrection of the Author?William Irwin (ed.) - 2002 - Praeger.
    The nature of authorship and the place of authorial intention in the interpretation of literary texts are examined in this dialogical collection. Seminal essays by Barthes and Foucault lead a study of the philosophical underpinnings and arguments of the debate.
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  • How to Share an Intention.J. David Velleman - 1997 - Philosophy and Phenomenological Research 57 (1):29-50.
    Existing accounts of shared intention do not claim that a single token of intention can be jointly framed and executed by multiple agents; rather, they claim that multiple agents can frame distinct, individual intentions in such a way as to qualify as jointly intending something. In this respect, the existing accounts do not show that intentions can be shared in any literal sense. This article argues that, in failing to show how intentions can be literally shared, these accounts fail to (...)
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  • How To Share An Intention.J. David Velleman - 1997 - Philosophy and Phenomenological Research 57 (1):29-50.
    Existing accounts of shared intention do not claim that a single token of intention can be jointly framed and executed by multiple agents; rather, they claim that multiple agents can frame distinct, individual intentions in such a way as to qualify as jointly intending something. In this respect, the existing accounts do not show that intentions can be shared in any literal sense. This article argues that, in failing to show how intentions can be literally shared, these accounts fail to (...)
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  • Intention, Plans, and Practical Reason.J. David Velleman - 1991 - Philosophical Review 100 (2):277-284.
  • Collective Authorship in Film.C. Paul Sellors - 2007 - Journal of Aesthetics and Art Criticism 65 (3):263–271.
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  • Collective Moral Responsibility.J. Angelo Corlett - 2001 - Journal of Social Philosophy 32 (4):573–584.
  • Sameness and Substance Renewed.David Wiggins - 2005 - Philosophy and Phenomenological Research 71 (2):456-461.
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  • Appropriation and Authorship in Contemporary Art.Sherri Irvin - 2005 - British Journal of Aesthetics 45 (2):123-137.
    Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their (...)
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  • Work and Object.Peter Lamarque - 2002 - Proceedings of the Aristotelian Society 102 (2):141–162.
    The paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the (...)
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  • Work and Object.Peter Lamarque - 2002 - Proceedings of the Aristotelian Society 102 (1):141-162.
    The paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the (...)
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  • Sameness and Substance Renewed.David Wiggins - 2001 - Philosophy 79 (307):133-141.
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  • Collective Authorship in Film.C. Paul Sellors - 2007 - Journal of Aesthetics and Art Criticism 65 (3):263-271.
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  • Art and Intention.Paisley Nathan Livingston - 2005 - Tijdschrift Voor Filosofie 68 (2):414-415.
    In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...)
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  • What an Author Is.Alexander Nehamas - 1986 - Journal of Philosophy 83 (11):685-691.
  • Music, Art, and Metaphysics.Gregory Currie - 1993 - Philosophy and Phenomenological Research 53 (2):471-475.
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  • On Social Facts.Margaret Gilbert - 1989 - Ethics 102 (4):853-856.
  • Artworks: Definition, Meaning, Value.Robert Stecker - 1997 - Journal of Aesthetics and Art Criticism 56 (3):311-313.
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  • Validity in Interpretation.George Dickie - 1967 - Journal of Aesthetics and Art Criticism 26 (4):550-552.
    By demonstrating the uniformity and universality of the principles of valid interpretation of verbal texts of any sort, this closely reasoned examination provides a theoretical foundation for a discipline that is fundamental to virtually all humanistic studies. It defines the grounds on which textual interpretation can claim to establish objective knowledge, defends that claim against such skeptical attitudes as historicism and psychologism, and shows that many confusions can be avoided if the distinctions between meaning and significance, interpretation and criticism are (...)
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  • Authorship.Aaron Meskin - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.
     
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  • Paisley Livingston, Eds.Berys Gaut - 2003 - In Berys Nigel Gaut & Paisley Livingston (eds.), The Creation of Art: New Essays in Philosophical Aesthetics. Cambridge University Press.
     
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  • On Action.Richard Malpas - 1993 - Philosophical Review 102 (1):134.
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  • Art and Intention: A Philosophical Study.Paisley Nathan Livingston - 2005 - Journal of Aesthetics and Art Criticism 65 (3):299-305.
    In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...)
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  • The Rhetoric of Fiction.Wayne C. Booth - 1964 - Journal of Aesthetics and Art Criticism 22 (4):487-488.
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  • X—Authors and Artifacts.Risto Hilpinen - 1993 - Proceedings of the Aristotelian Society 93 (1):155-178.
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  • I Could Have Done That.Guy Rohrbaugh - 2005 - British Journal of Aesthetics 45 (3):209-228.
    Could a work of art actually authored by one artist have been authored, instead, by another? This is the question of the necessity of authorship. After distinguishing this question from another, regarding individuation, with which it is often confused, this paper offers an argument that authorship is indeed a necessary feature of most artworks. The argument proceeds from ‘independence principles’, which govern the processes by which artworks are produced. Independence principles are motivated, in turn, by metaphysical reflections on what it (...)
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  • Sameness and Substance Renewed.E. J. Lowe - 2003 - Mind 112 (448):816-820.
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  • Music, Art, and Metaphysics.Stephen Davies - 1992 - Journal of Aesthetic Education 26 (2):110.
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  • On Action.Alfred Mele - 1992 - Philosophy and Phenomenological Research 52 (2):488-491.
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  • On Action.Jennifer Hornsby - 1991 - Philosophical Quarterly 41 (165):498-500.
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  • Essays on Actions and Events.Tyler Burge - 1980 - Ethics 93 (3):608-611.
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  • Validity in interpretation.E. D. Hirsch - 1967 - Revue Philosophique de la France Et de l'Etranger 160:493-494.
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  • Validity in Interpretation.E. D. Hirsch - 1967 - Foundations of Language 7 (4):602-605.
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  • Film Authorship and Collaboration.Berys Gaut - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press. pp. 149--172.
     
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  • Defining Comics.Aaron Meskin - 2016 - In Aaron Meskin, Frank Bramlett & Roy Cook (eds.), Routledge Companion to Comics. Routledge. pp. 221-229.
  • Reference and Generality: An Examination of Some Medieval and Modern Theories.Peter Thomas Geach - 1969 - Philosophy and Rhetoric 2 (4):241-242.
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