Results for 'James O. Spencer'

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  1.  24
    Suppression of perceptual organization in the auditory mode by the presence of visual stimuli.James O. Spencer - 1973 - Bulletin of the Psychonomic Society 1 (1):31-32.
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  2.  24
    Assessing the Ethos Theory of Music.James O. Young - 2021 - Disputatio 13 (62):283-297.
    The view that music can have a positive or negative effect on a person’s character has been defended throughout the history of philosophy. This paper traces some of the history of the ethos theory and identifies a version of the theory that could be true. This version of the theory can be traced to Plato and Aristotle and was given a clear statement by Herbert Spencer in the nineteenth century. The paper then examines some of the empirical literature on (...)
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  3. Created from animals: the moral implications of Darwinism.James Rachels - 1990 - New York: Oxford University Press.
    From Bishop Wilberforce in the 1860s to the advocates of "creation science" today, defenders of traditional mores have condemned Darwin's theory of evolution as a threat to society's values. Darwin's defenders, like Stephen Jay Gould, have usually replied that there is no conflict between science and religion--that values and biological facts occupy separate realms. But as James Rachels points out in this thought-provoking study, Darwin himself would disagree with Gould. Darwin, who had once planned on being a clergyman, was (...)
  4.  22
    Vita: Chauncey Wright—Brief life of an 'indolent genius': 1830–1875.Robert J. O'Hara - 1994 - Harvard Magazine 96 (4): 42–43.
    Chauncey Wright (1830–1874) was one of the first American philosophers to explore the implications of Charles Darwin's work in evolutionary biology. Wright became a strong supporter of the idea of natural selection and a strong critic of the anti-selectionist and teleological arguments of St. George Jackson Mivart and Herbert Spencer, and he laid the groundwork for the field that is today called evolutionary epistemology. As the mentor of the original Cambridge "Metaphysical Club" (William James, Charles Sanders Peirce, and (...)
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  5.  49
    Critique of Pure Music.James O. Young - 2014 - Oxford, GB: Oxford University Press.
    James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.
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  6. The coherence theory of truth.James O. Young - 2008 - Stanford Encyclopedia of Philosophy.
  7. Profound offense and cultural appropriation.James O. Young - 2005 - Journal of Aesthetics and Art Criticism 63 (2):135–146.
  8. The metaphysics of jazz.James O. Young & Carl Matheson - 2000 - Journal of Aesthetics and Art Criticism 58 (2):125-133.
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  9. A Defence of the Coherence Theory of Truth.James O. Young - 2001 - Journal of Philosophical Research 26 (1):89--101.
    Recent critics of the coherence theory of truth (notably Ralph Walker) have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere (the specified system). Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, (...)
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  10.  44
    Art and Knowledge.James O. Young - 2001 - New York: Routledge.
    Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...)
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  11.  75
    Cultures and cultural property.James O. Young - 2007 - Journal of Applied Philosophy 24 (2):111–124.
    abstract In a number of contexts one comes across the suggestion that cultures are collective owners of cultural property, such as particularly significant works of art. Indigenous peoples are often held to be collective owners of cultural property, but they are not the only ones. Icelandic culture is said to have a claim on the Flatejarbók and Greek culture is held to own the Parthenon Marbles. In this paper I investigate the conditions under which a culture is the rightful owner (...)
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  12.  25
    Global anti-realism.James-O. Young - 1987 - Philosophy and Phenomenological Research 47:641-647.
    DUMMETT HAS BEEN CONCERNED WITH SHOWING HOW ONE MIGHT GIVE\nAN ANTI-REALIST ACCOUNT OF RESTRICTED CLASSES OF SENTENCES.\nTHIS PAPER ARGUES THAT IT IS POSSIBLE TO GIVE AN\nANTI-REALIST ACCOUNT OF ALL CLASSES OF SENTENCES. THAT IS,\nIN THE CASE OF NO CLASSES OF SENTENCES DOES TRUTH TRANSCEND\nWHAT CAN BE WARRANTED. THE KEY TO GLOBAL ANTI-REALISM IS\nREPLACING DUMMETT'S EMPIRICISM WITH A COHERENTIST ACCOUNT\nOF WARRANT. THE AUTHOR POINTS OUT THAT COLIN McGINN'S\nARGUMENT AGAINST GLOBAL ANTI-REALISM FAILS.
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  13. The concept of authentic performance.James O. Young - 1988 - British Journal of Aesthetics 28 (3):228-238.
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  14. Should white men play the blues?James O. Young - 1994 - Journal of Value Inquiry 28 (3):415-424.
  15. The ontology of musical works: A philosophical pseudo-problem.James O. Young - 2011 - Frontiers of Philosophy in China 6 (2):284-297.
    A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no (...)
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  16. Plato and the poets.James O. Urmson - 1982 - In J. M. E. Moravcsik & Philip Temko (eds.), Plato on beauty, wisdom, and the arts. Totowa, N.J.: Rowman & Littlefield. pp. 195-199.
  17.  81
    Global anti-realism.James O. Young - 1987 - Philosophy and Phenomenological Research 47 (4):641-647.
  18.  19
    The Semantics of Aesthetic Judgements.James O. Young (ed.) - 2017 - Oxford, GB: Oxford University Press UK.
    Are aesthetic judgements simply expressions of personal preference? If two people disagree about the beauty of a painting are both judgements valid or can someone be mistaken about the aesthetic value of an artwork? This volume brings together some of the leading philosophers of art and language to debate the status of aesthetic judgements.
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  19. Destroying works of art.James O. Young - 1989 - Journal of Aesthetics and Art Criticism 47 (4):367-373.
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  20.  77
    Coherence, anti-realism and the vienna circle.James O. Young - 1991 - Synthese 86 (3):467 - 482.
    Some members of the Vienna Circle argued for a coherence theory of truth. Their coherentism is immune to standard objections. Most versions of coherentism are unable to show why a sentence cannot be true even though it fails to cohere with a system of beliefs. That is, it seems that truth may transcend what we can be warranted in believing. If so, truth cannot consist in coherence with a system of beliefs. The Vienna Circle's coherentists held, first, that sentences are (...)
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  21. ‘Nothing Comes from Nowhere’: Reflections on Cultural Appropriation as the Representation of Other Cultures.James O. Young & Susan Haley - 2009 - In James O. Young & Conrad G. Brunk (eds.), The Ethics of Cultural Appropriation. Wiley-Blackwell. pp. 268–289.
    This chapter contains sections titled: Introduction Is ‘subject appropriation’ a misnomer? Subject appropriation and misrepresentation Cultural Appropriation and Assimilation Harm and Accurate Representation Privacy Authenticity and Subject Appropriation Envoy Conclusion References.
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  22.  66
    The ‘great divide’ in music.James O. Young - 2005 - British Journal of Aesthetics 45 (2):175-184.
    Several prominent philosophers of music, including Lydia Goehr and Peter Kivy, maintain that the experience of music changed drastically in about 1800. According to the great divide hypothesis, prior to 1800 audiences often scarcely attended to music. At other times, music was appreciated as part of social, civic, or religious ceremonies. After the great divide, audiences began to appreciate music as an exclusive object of aesthetic experience. The great divide hypothesis is false. The musicological record reveals that prior to the (...)
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  23. The slingshot argument and the correspondence theory of truth.James O. Young - 2002 - Acta Analytica 17 (2):121-132.
    The correspondence theory of truth holds that each true sentence corresponds to a discrete fact. Donald Davidson and others have argued (using an argument that has come to be known as the slingshot) that this theory is mistaken, since all true sentences correspond to the same “Great Fact.” The argument is designed to show that by substituting logically equivalent sentences and coreferring terms for each other in the context of sentences of the form ‘P corresponds to the fact that P’ (...)
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  24.  63
    Between rock and a Harp place.James O. Young - 1995 - Journal of Aesthetics and Art Criticism 53 (1):78-81.
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  25.  25
    Relatively Speaking: The Coherence of Anti-Realist Relativism.James O. Young - 1986 - Canadian Journal of Philosophy 16 (3):503 - 509.
    The current debate between realists and anti-realists has brought to the fore some ancient questions about the coherence of relativism. Realism is the doctrine according to which the truth of sentences is determined by the way things really are. Truth is thus the result of a relation between sentences and reality. One species of anti-realism holds, on the contrary, the truth results from a relation between sentences within a theory: a sentence is true if warranted by a correct theory.
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  26. The Buck Passing Theory of Art.James O. Young - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (4): 421-433.
    In Beyond Art (2014), Dominic Lopes proposed a new theory of art, the buck passing theory. Rather than attempting to define art in terms of exhibited or genetic featured shared by all artworks, Lopes passes the buck to theories of individual arts. He proposes that we seek theories of music, painting, poetry, and other arts. Once we have these theories, we know everything there is to know about the theory of art. This essay presents two challenges to the theory. First, (...)
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  27. Art, authenticity and appropriation.James O. Young - 2006 - Frontiers of Philosophy in China 1 (3):455-476.
    It is often suggested that artists from one culture (outsiders) cannot successfully employ styles, stories, motifs and other artistic content developed in the context of another culture. I call this suggestion the aesthetic handicap thesis and argue against it. Cultural appropriation can result in works of high aesthetic value.
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  28. Cultural Appropriation and the Arts.James O. Young - 2008 - Wiley-Blackwell.
    Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically (...)
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  29. Truth, correspondence and deflationism.James O. Young - 2009 - Frontiers of Philosophy in China 4 (4):563-575.
    The central claim of this essay is that many deflationary theories of truth are variants of the correspondence theory of truth. Essential to the correspondence theory of truth is the proposal that objective features of the world are the truthmakers of statements. Many advocates of deflationary theories (including F. P. Ramsay, P. F. Strawson and Paul Horwich) remain committed to this proposal. Although T-sentences (statements of the form “ s is true iff p ”) are presented by advocates of deflationary (...)
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  30.  43
    The Immorality of Applied Ethics.James O. Young - 1986 - International Journal of Applied Philosophy 3 (2):37-43.
  31.  27
    In defence of colourization.James O. Young - 1988 - British Journal of Aesthetics 28 (4):368-372.
  32.  37
    Still more in defense of colorization.James O. Yooung - 1992 - Journal of Aesthetics and Art Criticism 50 (3):245-248.
  33. The cognitive value of music.James O. Young - 1999 - Journal of Aesthetics and Art Criticism 57 (1):41-54.
  34. Relativism, standards and aesthetic judgements.James O. Young - 2009 - International Journal of Philosophical Studies 17 (2):221 – 231.
    This paper explores the various available forms of relativism concerning aesthetic judgement and contrasts them with aesthetic absolutism. Two important distinctions are drawn. The first is between subjectivism (which relativizes judgements to an individual's sentiments or feelings) and the relativization of aesthetic judgements to intersubjective standards. The other is between relativism about aesthetic properties and relativism about the truth-values of aesthetic judgements. Several plausible forms of relativism about aesthetic properties are on offer, but relativism about the truth-values of aesthetic judgements (...)
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  35. Music and the Representation of Emotion.James O. Young - 2013 - Frontiers of Philosophy in China 8 (2):332-348.
     
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  36. The Poverty of Musical Ontology.James O. Young - 2014 - Journal of Music and Meaning 13:1-19.
    Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological judgments are (...)
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  37. Art and the educated audience.James O. Young - 2010 - Journal of Aesthetic Education 44 (3):29-42.
    When writing about art, aestheticians tend to focus on the work of art and on the artist who produces it. When they refer to audiences, they typically speak only of the effect that the artwork has on its audience. Aestheticians pay little, if any, attention to the important active role that an audience plays in the workings of a healthy art world. My goal in this essay is to do something to end the neglect of the audience. I will focus (...)
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  38. Resemblance, Convention, and Musical Expressiveness.James O. Young - 2012 - The Monist 95 (4):587-605.
    Peter Kivy and Stephen Davies developed an influential and convincing account of what features of music cause listeners to hear it as expressive of emotion. Their view (the resemblance theory) holds that music is expressive of some emotion when it resembles human expressive behaviour. Some features of music, they believe, are expressive of emotion because of conventional associations. In recent years, Kivy has rejected the resemblance theory without adopting an alternative. This essay argues that Kivy has been unwise to abandon (...)
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  39.  11
    Aesthetics.James O. Young (ed.) - 2005 - New York: Routledge.
    This four volume set brings together both classic and contemporary writings to provide a comprehensive collection of the most important essays on the subject. All of the various artistic genres are addressed, with sections on film, dance and architecture as well as music, literature and the visual arts. With a new introduction by the editor to guide the reader through the volumes, this major new work will provide student and researcher alike with key writings on aesthetics in one convenient, unique (...)
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  40.  57
    Aesthetic Antirealism.James O. Young - 1997 - Southern Journal of Philosophy 35 (1):119-134.
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  41.  74
    Artworks and artworlds.James O. Young - 1995 - British Journal of Aesthetics 35 (4):330-337.
  42. Art, knowledge, and exemplification.James O. Young - 1999 - British Journal of Aesthetics 39 (2):126-137.
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  43. Berys Gaut and Paisley Livingston, eds., The Creation of Art: New Essays in Philosophical Aesthetics Reviewed by.James O. Young - 2004 - Philosophy in Review 24 (2):107-109.
     
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  44.  17
    Defining art responsibly.James O. Young - 1997 - British Journal of Aesthetics 37 (1):57-65.
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  45.  4
    Evaluation and the Cognitive Function of Art.James O. Young - 1995 - The Journal of Aesthetic Education 29 (4):65.
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  46.  40
    Holism and meaning.James O. Young - 1992 - Erkenntnis 37 (3):309 - 325.
  47. Jeanette Bicknell, Why Music Moves Us.James O. Young - 2009 - Philosophy in Review 29 (5):316.
     
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  48.  65
    Key, temperament and musical expression.James O. Young - 1991 - Journal of Aesthetics and Art Criticism 49 (3):235-242.
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  49.  19
    Pragmatism and the Fate of Philosophy.James O. Young - 1984 - Dialogue 23 (4):683-686.
  50.  14
    Questioning foundations: Truth, subjectivity, and culture.James O. Young - 1995 - History of European Ideas 21 (5):718-719.
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