dr. Rob van Gerwen
Consilium Philosophicum
Utrecht

Literatuur gebruikt in onderwijs (selectie)

Dr. Rob van Gerwen

 

(BibTEX-bibliografie)


Adorno, T. W. 1973. Ästhetische Theorie. Frankfurt am Main: Suhrkamp.

____________. 1978. “Ideen zur Musiksoziologie.” In Musikalische Schriften (Gesammelte Schriften 16), edited by Theodor Wiesengrund Adorno, Volume I–III, 9–23. Frankfurt am Main: Suhrkamp.

____________. 2000. “Extracts from Minima Moralia: Reflections from Damaged Life.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 234–256. London and New York: Routledge.

Alcolea-Banegas, Jesús. 2009. “Visual Arguments in Film.” Argumentation 23:259–275.

Allen, Richard, and Murray Smith, eds. 1998. Film Theory and Philosophy. Oxford: Oxford University Press.

Anderson, J. C., and J. T. Dean. 1998. “Moderate Autonomism.” The British Journal of Aesthetics 38:150–66.

Ankersmit, Frank R. 1993. De historische ervaring. Groningen: Historische Uitgeverij.

Apel, K. O. 1982. “The Erklären-Verstehen Controversy in the Philosophy of the Natural and Human Sciences.” In Contemporary Philosophy. A New Survey (2), edited by G. Floistad, 19–49. The Hague, Boston, London: Nijhoff.

Aristoteles. 2004. Retorica. Edited by Marc Huys. Translated by Marc Huys. Groningen: Historische Uitgeverij.

Aristotle. n.d. (1965). On the Art of Poetry. Classical Literary Criticism. Middlesex, UK: Penguin Books.

____________. 350BC. De Anima: A Critical Commentary. Edited by Ronald Polansky (2007). Cambridge, New York: Cambridge University Press.

Arrell, Douglas. 1987. “What Goodman should Have Said About Representation.” Journal of Aesthetics and Art Criticism 46:41–49.

Austin, J.L. 1962. How to Do Things with Words. Oxford: Oxford University Press.

Barthes, Roland. 2000 (1980). Camera Lucida. Translated by Richard Howard. London: Vintage.

Barwell, Ismay. 1997. “Who’s Telling this Story, Anyway? Or, How to Tell the Gender of a Storyteller.” In Art and its Messages. Meaning, Morality and Society, edited by Stephen Davies, 89–100. Pennsylvania: Pennsylvania State University Press.

Bataille, Georges. 2000. “Sanctity, Eroticism, and Solitude.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 384–91. London and New York: Routledge.

Baumeister, Thomas. 1999. De filosofie en de kunsten. Van Plato tot Beuys. Budel: DAMON.

Baumgarten, A. G. 1954 (1735). “Meditationes de nonnullis ad poema pertinentibus.” In Baumgarten’s Reflections on Poetry, edited by K. Aschenbrenner and W. Holther. Berkeley, Los Angeles: University of California Press.

____________. 1961 (1750-1758). Aesthetica. Hildesheim: Georg Olms Verlagsbuchhandlung.

Beardsley, Monroe. 2004. “Intentions and Interpretations: A Fallacy Revived.” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 189–199. Oxford: Blackwell.

Benjamin, Walter. 2000. “The Work of Art in the Age of Mechanical Reproduction.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 322–343. London and New York: Routledge.

Blackburn, Simon. 1998. “The Good, the Right, and the Common Point of View.” Chapter 7. of Ruling Passions, 200–37. Oxford: Clarendon Press.

____________. 1998. “Organizing Practice: The Elements of Ethics.” Chapter 1. of Ruling Passions, 1–23. Oxford: Clarendon Press.

____________. 2002. “How Emotional is the Virtuous Person?” In Understanding Emotions. Mind and Morals, edited by Peter Goldie, 81–96. Aldershot: Ashgate.

Blair, J. Anthony. 1996. “The Possibility and Actuality of Visual Arguments.” Argumentation and Advocacy 33 (1): 23–39.

Bouwsma, O.K. 1954. “The Expression Theory of Art.” In Aesthetics and Language, edited by W. Elton, 73 ff. Oxford: Blackwell.

Bowell, Tracy, and Gary Kemp, eds. 2010. Critical Thinking. A Concise Guide. 3rd. London, New York: Routledge.

Brand, Peggy Zeglin. 1998. “Disinterestedness and Political Art.” In Aesthetics. The Big Questions, edited by Carolyn Korsmeyer, 155–171. Oxford: Blackwell.

Bresson, Robert. 1975. Notes sur le cinématographe. Paris: Gallimard.

Brown, Curtis. 2002. “Art, Oppression, and the Autonomy of Aesthetics.” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 399–422. London: Routledge.

Budd, Malcolm. 1995. Values of Art. Pictures, Poetry and Music. London, etc.: Allen Lane, The Penguin Press.

____________. 2003. “The Acquaintance Principle.” The British Journal of Aesthetics 43:386–392.

Burke, Edmund. 1958 (1757). A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. London: Routledge & Kegan Paul.

Carlson, Allen. 1995. “Appreciation and the Natural Environment.” In Arguing About Art. Contemporary Philosophical Debates, edited by Alex Neill and Aaron Ridley, 127–138. New York, etc.: McGraw-Hill.

Carr, David. 1997. “Meaning in Dance.” The British Journal of Aesthetics 37:349–366.

Carroll, Noël. 1996. “Moderate Moralism.” The British Journal of Aesthetics 36:223–38.

____________. 1996. “Moderate Moralism versus Moderate Autonomism.” The British Journal of Aesthetics 38:419–24.

____________. 1998. “Art, Narrative, and Moral Understanding.” In Aesthetics and Ethics, edited by Jerrold Levinson, 126–60. Cambridge, New York: Cambridge University Press.

____________. 2002. “On Being Moved by Nature. Between Religion and Natural History.” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 167–188. London: Routledge.

____________. 2002. “Why Horror?” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 275–294. London: Routledge.

____________. 2003. “Dance.” In The Oxford Handbook of Aesthetics, edited by Jerrold Levinson, 583–593. Oxford: Oxford University Press.

____________. 2003. “Humour.” In The Oxford Handbook of Aesthetics, edited by Jerrold Levinson, 344–365. Oxford: Oxford University Press.

Carruthers, Peter, and Peter K. Smith, eds. 1996. Theories of Theories of Mind. Cambridge, New York: Cambridge University Press.

Cazeaux, Clive, ed. 2000. The Continental Aesthetics Reader. London and New York: Routledge.

Chismar, Douglas. 1988. “Empathy and Sympathy: The Important Difference.” Journal of Value Inquiry 22:257–266.

Clark, Andy, and David J. Chalmers. 1998. “The extended mind.” Analysis 58 (1): 7–19.

Cohen, Ted. 1983. “Jokes.” In Pleasure, Preference and Value: Studies in Philosophical Aesthetics, edited by Eva Schaper, 120–136. Cambridge, New York: Cambridge University Press.

____________. 1990. “An Emendation in Kant’s Theory of Taste.” Noûs 24:137–45.

____________. 1998. “High and Low Thinking About High and Low Art.” In Aesthetics. The Big Questions, edited by Carolyn Korsmeyer, 171–77. Oxford: Blackwell.

Conolly, O., and B. Haydar. 2001. “Narrative Art and Moral Knowledge.” The British Journal of Aesthetics 41:109–24.

Cooper, David E., ed. 1997. Aesthetics. The Classic Readings. Oxford: Blackwell’s.

Crowther, Paul. 1981. “Art and Autonomy.” The British Journal of Aesthetics 21:12–21.

____________. 1991. “Creativity and Originality in Art.” The British Journal of Aesthetics 31:301–09.

Currie, Gregory. 1995. “Imagination and Simulation: Aesthetics Meets Cognitive Science.” In Mental Simulation, edited by Martin Davies and Tony Stone, 151–69. Oxford: Blackwell.

____________. 1998. Image and Mind. Cambridge, New York: Cambridge University Press.

Dancy, Jonathan. 1985. An Introduction to Contemporary Epistemology. Oxford: Basil Blackwell.

____________. 1993. “Why Particularism.” In Moral Reasons, 60–71. Oxford: Blackwell.

Danto, Arthur C. 2004. “The Artworld.” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 27–35. Oxford: Blackwell.

Darwin, Charles. 1872. The Expression of the Emotions in Man and Animals. New York: D. Appleton and Company.

Davidson, Donald. 1984 (1973). “Radical Interpretation.” In Inquiries into Truth and Interpretation, 125–140. Oxford: Clarendon Press.

____________. 1984 (1978). “What Metaphors Mean.” In Inquiries into Truth and Interpretation, 245–64. Oxford: Clarendon Press.

Davies, Martin, and Tony Stone, eds. 1995. Folk Psychology. Oxford: Blackwell.

____________, eds. 1995. Mental Simulation. Oxford: Blackwell.

Davies, Stephen. 1991. Definitions of Art. Ithaca: Cornell University Press.

____________, ed. 1997. Art and its Messages. Meaning, Morality and Society. Pennsylvania: Pennsylvania State University Press.

____________. 1997. “Contra the Hypothetical Persona in Music.” In Emotion and the Arts, edited by Mette Hjort and Sue Laver, 95–109. Oxford: Oxford University Press.

____________. 2002. “Authenticity in Musical Performance.” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 57–68. London: Routledge.

____________. 2004. “Weitz’s Anti-Essentialism.” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 63–68. Oxford: Blackwell.

Davis, Kathy. 1995. Reshaping the Female Body. The Dilemma of Cosmetic Surgery. New York, London: Routledge.

____________. 1997. “‘My Body is My Art’. Cosmetic Surgery as Feminist Utopia.” In Embodied Practices: Feminist Perspectives on the Body, edited by Kathy Davis, 168–181. London: Sage Publications Ltd.

de Beaufort, Inez. 2001. “Sic transit gloria mundi? Over uiterlijk, ouder worden en facelifts.” Filosofie & praktijk 22:6–19.

Deigh, John. 1994. “Cognitivism in the Theory of Emotion: A Survey Article.” Ethics 104:824–54.

Dempster, Douglas J. 1985. “Aesthetic Experience and Psychological Definitions of Art.” Journal of Aesthetics and Art Criticism 44:153–65.

Derrida, Jacques. 1967. “La structure, le signe et le jeu dans le discours des sciences humaines.” In L’Écriture et la Différence, 409–429. Paris: Éditions du Seuil.

____________. 1982. “Differance.” In Margins of philosophy. Translated by Alan Bass. Chicago: University of Chicago Press.

____________. 2000. “The Parergon.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 412–28. London and New York: Routledge.

Descartes, René. 1901 (1641)a. Descartes’ Meditations. Translated by John Veitch.

____________. 1901 (1641)b. “Meditation VI. Of The Existence Of Material Things, And Of The Real Distinction Between The Mind And Body Of Man.” In Descartes’ Meditations. Translated by John Veitch.

Devereaux, Mary. 1993. “Protected Space: Politics, Censorship, and the Arts.” Journal of Aesthetics and Art Criticism 51:2:207–15.

____________. 1998. “Beauty and Evil: The Case of Leni Riefenstahl’s Triumf of the Will.” In Aesthetics and Ethics, edited by Jerrold Levinson, 227–56. Cambridge, New York: Cambridge University Press.

____________. 2002. “Oppressive Texts, Resisting Readers and the Gendered Spectator: The New Aesthetics.” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 381–398. London: Routledge.

Dewey, John. 1894. “The Theory of Emotion. (I) Emotional Attitudes.” Psychological Review 1:553–569.

____________. 1895. “The Theory of Emotion. (II) The significance of emotions.” Psychological Review 2:13–32.

____________. 1997. “Art as Experience, Chs. 1-2.” In Aesthetics. The Classic Readings, edited by David E. Cooper, 210–228. Oxford; Malden, U.S.A.: Blackwell Publishing Ltd.

Dickie, George. 1964. “The Myth of the Aesthetic Attitude.” American Philosophical Quarterly I:54–64.

____________. 1973. “The Institutional Conception of Art.” In Language and Aesthetics, edited by Benjamin R. Tilghman, 21–30. Lawrence: University of Kansas Press.

____________. 2004. “The New Institutional Theory of Art.” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 47–54. Oxford: Blackwell.

Dodd, Julian. 2000. “Musical Works as Eternal Types.” The British Journal of Aesthetics 40:424–40.

Dreyfus, Hubert L., and Paul Rabinow. 1982. “The Subject and Power. Afterword by MIchel Foucault.” In Michel Foucault. Beyond Structuralism and Hermeneutics, 208–226. New York, etc.: Harvester Wheatsheaf.

Dutton, Denis. 2002. “Artistic Crimes.” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 100–112. London: Routledge.

Eaton, Marcia Muelder. 2000. “A Sustainable Definition of ‘Art’.” In Theories of Art Today, edited by Noëll Carroll, 141–60. Madison: University of Wisconsin Press.

____________. 2001. Merit, Aesthetic and Ethical. Oxford: Oxford University Press.

Elliot, R.K. 1997. “Aesthetic Theory and the Experience of Art.” In Aesthetics, edited by Susan Feagin and Patrick Maynard, 278–88. Oxford: Oxford University Press.

Elster, Jon. 1999. Strong Feelings. Cambridge, Mass.: MIT Press.

Feagin, Susan L. 1997. “Paintings and their Places.” In Art and its Messages. Meaning, Morality and Society, edited by Stephen Davies, 17–25. Pennsylvania: Pennsylvania State University Press.

Foucault, Michel. 1972. “Part IV. 1. Archeology and the history of ideas.” In The Archeology of Knowledge, 135–141. Translated by A.M Sheridan Smith. London: Tavistock Publications.

____________. 2000. “Las Meninas.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 401–11. London and New York: Routledge.

Freeland, Cynthia A. 1998. “Realist Horror.” In Aesthetics. The Big Questions, edited by Carolyn Korsmeyer, 283–93. Oxford: Blackwell.

Fridlund, Alan J. 1997. “The new ethology of human facial expressions.” In The Psychology of Facial Expression, edited by James A. Russell and José-Miguel Fernandez-Dols, 103–32. Cambridge, New York: Cambridge University Press.

Frijda, Nico, and Anna Tcherkassof. 1997. “Facial Expressions as Modes of Action Readiness.” In The Psychology of Facial Expression, edited by James A. Russell and José-Miguel Fernandez-Dols, 78–102. Cambridge, New York: Cambridge University Press.

Frijda, Nico Henri. 1994. “The Lex Talionis: On Vengeance.” In Emotions: Essays on Emotion Theory, edited by Stephanie H. M. van Goozen, Nanne E. Van de Poll, and Joseph A. Sergeant, 263–89. Hillsdale, New Jersey: Erlbaum.

Gadamer, Hans-Georg. 1986. “The Relevance of the Beautiful. Art as Play, Symbol, and Festival.” In The Relevance of the Beautiful and Other Essays, edited by Robert Bernasconi, 3–53. Translated by Nicholas Walker. Cambridge, New York: Cambridge University Press.

____________. 2000. “Aesthetics and Hermeneutics.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 181–186. London and New York: Routledge.

____________. 2001. “Esthetica en Hermeneutiek.” Feit & fictie V:111–19.

Gallie, W. B. 1956. “Essentially Contested Concepts.” Proceedings of the Aristotelian Society, vol. 167.

Gaut, Berys. 1998. “The Ethical Criticism of Art.” In Aesthetics and Ethics, edited by Jerrold Levinson, 182–203. Cambridge, New York: Cambridge University Press.

____________. 2002. “The Paradox of Horror.” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 295–308. London: Routledge.

Gavin, Dawn. “Orlan (interview/essay).” Transcript 2:5–17.

Geertz, Clifford. 1994. “Thick Description: Toward an Interpretive Theory of Culture.” In Readings in the Philosophy of Social Science, edited by Michael Martin and Lee C. McIntyre, 213–232. Cambridge, Mass: The MIT Press.

Gibson, J.J. 1986. The Ecological Approach to Visual Perception. London, Hillsdale, N.J.: Lawrence Erlbaum Associates.

Goldblatt, David. 1984. “Self-Plagiarism.” Journal of Aesthetics and Art Criticism 43:71–77.

Goldie, Peter. 2000. The Emotions. A Philosophical Exploration. Oxford: Oxford University Press.

____________, ed. 2002. Understanding Emotions. Mind and Morals. Aldershot, etc.: Ashgate.

Gombrich, Ernst H. 1963. “Meditations on a Hobby Horse; or, the Roots of Artistic Form.” In Meditations on a Hobby Horse and Other Essays on the Theory of Art, edited by Ernst H. Gombrich, 1–11. London: Phaidon Press.

Goodman, Nelson. 1972. “Seven Strictures on Similarity.” In Problems and Projects, 437–46. Indianapolis: Bobbs-Merrill.

____________. 1978. “The Status of Style.” In Ways of Worldmaking, 23–40. Indianapolis: Hackett.

____________. 1978. “When is Art?” In Ways of Worldmaking, 57–70. Indianapolis: Hackett.

____________. 1985. Languages of Art. Indianapolis: Hackett Publishing Company.

Gracyk, Theodore. 2002. “Music’s Worldly Uses, or How I Learned to Stop Worrying and to Love Led Zeppelin.” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 135–148. London: Routledge.

Gray, Richard T. 2004. About Face. German Physiognomic Thought from Lavater to Auschwitz. Detroit: Wayne State University Press.

Grene, Marjorie. 1952. “Authenticity: an Existential Virtue.” Ethics 62:266–274.

Hacking, Ian. 1983. Representing and Intervening: Introductory Topics in the Philosophy of Natural Science. Cambridge, New York: Cambridge University Press.

Halliwell, Stephen, ed. 1988. Plato: Republic 10. Translated by Stephen Halliwell. Warminster, Wiltshire, England: Aris & Phillips Ltd.

Hamilton, James R. 2001. “Theater.” In The Routledge Companion to Aesthetics, edited by Berys Gaut and Dominic McIver Lopes, 557–68. London and New York: Routledge.

Harré, Rom, and W. Gerrod Parrott, eds. 1996. The Emotions: Social, Cultural and Biological Dimensions. London: Sage.

Hegel, G. W. F. 1970. Vorlesungen über die Ästhetik (1832-1845). Frankfurt am Main: Surhkamp.

Heidegger, Martin. 1960. Der Ursprung des Kunstwerkes. Stuttgart: Philipp Reclam Jun.

____________. 1997. Vom Wesen der Wahrheit, Erster Teil. Frankfurt am Main: Vittorio Klostermann.

____________. 2000. “The Origin of the Work of Art.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 80–101. London and New York: Routledge.

Hilhorst, Medard. 2001. “Het zit knap diep: over lichamelijke schoonheid en persoonlijke identiteit.” Filosofie & praktijk 22:20–30.

Hockney, David. 2002. Secret Knowledge. Rediscovering the Lost Techniques of the Old Masters. London: Thames and Hudson.

Hollis, Martin. 1985. “Wonder, Paradox and Vision.” In Invitation to Philosophy, 1–19. Oxford, New York: Basil Blackwell.

Hume, David. 1985 (1757). “Of the Standard of Taste.” In Essays Moral Political and Literary, edited by Eugene F. Miller, 226–250. Indianapolis: Liberty Fund.

Huys, Marc. 2000. “Bill Clinton, Monica Lewinsky en de Rhetorica van Aristoteles.” Kleio 29:110–134.

Ingarden, Roman. 1985. “Artistic and Aesthetic Values.” In Ingarden: Selected Papers in Aesthetics, edited by Peter J. McCormick, 91–106. München, Wien: Philosophia Verlag.

Inglis, Fred. 1993. “Doing Things with Words.” In Cultural Studies, 81–106. Oxford: Blackwell.

____________. 1993. “How to Do Cultural Studies.” In Cultural Studies, 227–247. Oxford: Blackwell.

Izard, Carroll E. 1997. “Emotions and Facial Expressions: A Perspective from Differential Emotions Theory.” In The Psychology of Facial Expression, edited by James A. Russell and José-Miguel Fernandez-Dols, 57–32. Cambridge, New York: Cambridge University Press.

James, William. 1884. “What is an Emotion?” Mind 9:188–205.

Johnston, M. 1989. “Dispositional Theories of Value.” Proceedings of the Aristotelian Society Supplement 63:139–74.

Kant, Immanuel. 1974. Kritik der Urteilskraft. Frankfurt am Main: Suhrkamp (A-first edition: Berlin, Libau 1790; B-second edition: Berlin, 1793).

____________. 1987. Critique of Judgment (Kritik der Urteilskraft). Translated by Werner S. Pluhar. Indianapolis: Hackett (orig: 1790, Berlin und Libau: Lagarde und Friederich).

____________. 1987. “Introduction.” In Critique of Judgment (Kritik der Urteilskraft), 9–39 (B171–199). Translated by Werner S. Pluhar. Indianapolis: Hackett (orig: 1790, Berlin und Libau: Lagarde und Friederich).

____________. 2000. “Extracts from Critique of Judgement.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 16–34. London and New York: Routledge.

Kemp, Gary. 1999. “The Aesthetic Attitude.” The British Journal of Aesthetics 39:392–399.

Kennick, William E. 1958. “Does Traditional Aesthetics Rest on a Mistake?” Mind 67:317–34.

Kenny, Anthony. 2003 (1963). Action, Emotion and Will. London and New York: Routledge.

Kieran, Matthew. 2001. “In Defence of the Ethical Evaluation of Narrative Art.” The British Journal of Aesthetics 41:26–38.

King, William L. 2002. “Scruton and Reasons for Looking at Photographs.” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 215–222. London: Routledge.

Kivy, Peter. 1984. “Mattheson as Philosopher of Art.” The Musical Quarterly 70:248–65.

____________. 1997. Philosophies of Arts. An Essay in Differences. Cambridge, New York: Cambridge University Press.

____________. 2004. “Platonism in Music: A Kind of Defense.” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 92–102. Oxford: Blackwell.

Kristeller, Paul Oskar. 1980. “The Modern System of the Arts: A Study in the History of Aesthetics.” In Renaissance Thought and the Arts, 163–227. Princeton: Princeton University Press.

Kristeva, Julia. 2000. “Approaching Abjection.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 542–62. London and New York: Routledge.

Lacan, Jacques. 1977. “The Mirror stage as Formative of the Function of the I.” In Ecrits. A Selection, 1–8. Translated by Alan Sheridon. London and New York: Routledge.

Lamarque, Peter. 2004. “The Death of the author: An Analytical Autopsy.” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 433–442. Oxford: Blackwell.

____________. 2004. “How Can We Fear and Pity Fictions?” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 328–336. Oxford: Blackwell.

____________. 2004. “Tragedy and Moral Value.” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 274–282. Oxford: Blackwell.

Lamarque, Peter, and Stein Haugom Olsen. 1996. “Setting the Scene.” In Truth, Fiction, and Literature, 1–26. Oxford: Clarendon Press.

____________, eds. 2004. Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology. Oxford: Blackwell.

Lavater, Johann Caspar. (1775) c1844. Essays on Physiognomy, Designed to Promote the Knowledge and Love of Mankind. 19. Translated by Thomas Holcroft. London: Ward, Lock and Bowden/Gresham.

Lessing, Alfred. 2002. “What is Wrong with a Forgery?” In Arguing About Art. Contemporary Philosophical Debates. Second edition, edited by Alex Neill and Aron Ridley, 87–99. London: Routledge.

Levinas, Emmanuel. 2000. “Reality and its Shadow.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 117–128. London and New York: Routledge.

Levinson, Jerrold. 1990. “What a Musical Work Is.” In Music, Art & Metaphysics, 63–88. Ithaca, NY: Cornell University Press.

____________. 1996. “Musical expressiveness.” In The Pleasures of Aesthetics, 90–128. Ithaca: Cornell University Press.

____________, ed. 1998. Aesthetics and Ethics. Cambridge, New York: Cambridge University Press.

____________. 2004. “Defining Art Historically.” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 27–35. Oxford: Blackwell.

Lewis, D. 1989. “Dispositional Theories of Value.” Proceedings of the Aristotelian Society SUPP 63:113–137.

Lewis, David. 1973. Counterfactuals. Oxford: Blackwell.

Locke, John. 1690. An Essay Concerning Human Understanding. London: Printed for Tho. Basset.

Lorand, Ruth. 1989. “Free and Dependent Beauty: a Puzzling Issue.” The British Journal of Aesthetics 29:32–40.

Lord, Catherine. 1977. “A Kripkean Approach to the Identity of a Work of Art.” Journal of Aesthetics and Art Criticism 36:147–153.

____________. 1987. “Indexicality, Not Circularity: Dickie’s New Definition of Art.” Journal of Aesthetics and Art Criticism 45:229–232.

____________. 1991. “A Note on Ruth Lorand’s ‘Free and Dependent Beauty: a Puzzling Issue’.” The British Journal of Aesthetics 31:167–68.

Lyotard, Jean-François. 2000. “The Sublime and the Avant-Garde.” In The Continental Aesthetics Reader, edited by Clive Cazeaux, 453–64. London and New York: Routledge.

Mackie, John L. 1971. Ethics: Inventing Right and Wrong. Harmondsworth: Penguin.

Mandelbaum, Maurice. 1965. “Family Resemblances and Generalizations concerning the Arts.” The American Philosophical Quarterly 1965:219–228.

Margalit, Avishai. 2002. The Ethics of Memory. Cambridge, Mass., London: Harvard University Press.

Margolis, Joseph. 1993. “Exorcising the Dreariness of Aesthetics.” Journal of Aesthetics and Art Criticism 51:133–140.

____________. 2000. “The Deviant Ontology of Artworks.” In Theories of Art Today, edited by Noëll Carroll, 109–29. Madison: University of Wisconsin Press.

____________. 2004. “The Ontological Peculiarity of works of art.” In Aesthetics and the Philosophy of Art. The Analytic Tradition, An Anthology, edited by Peter Lamarque and Stein Haugom Olsen, 73–77. Oxford: Blackwell.

Marquard, Odo. 1981. “Kant und die Wende zur Ästhetik.” In Zur Kant-Forschung der Gegenwart, edited by P. Heintel and L. Nagl, 237–70. Darmstadt: Wissenschaftliche Buchgesellschaft.

Matravers, Derek. 2001. Art and Emotion. Oxford: Oxford University Press.

____________. 2001. “Art, Expression and Emotion.” In The Routledge Companion to Aesthetics, edited by Berys Gaut and Dominic McIver Lopes, 353–63. London: Routledge.

Mattick, Paul, ed. 1993. Eighteenth-Century Aesthetics and the Reconstruction of Art. Cambridge, New York: Cambridge University Press.

McClintock, Ann. 1992. “The Angel of Progress: Pitfalls of the Term ‘Post-Colonialism’.” Social Text 31/32:84–98.

McDowell, John. 1983. “Aesthetic Value, Objectivity, and the Fabric of the World.” In Pleasure, Preference & Value, edited by Eva Schaper, 1–16. Cambridge, New York: Cambridge University Press.

____________. 1985. “Values and Secondary Qualities.” In Morality and Objectivity, edited by Ted Honderich, 110–129. London: Routledge and Kegan Paul.

____________. 1994. Mind and World. Cambridge, Mass and London, England: Harvard University Press.

____________. 1998. “The content of perceptual experience.” In Mind, Value, & Reality, 341–58. Cambridge, Mass and London, England: Harvard University Press.

McFee, Graham. 1992. Understanding Dance. London: Routledge.

____________. 1999. “Wittgenstein on Art and Aspects.” Philosophical Investigations 22:262–284.

____________. 2001. “Richard Wollheim on Representation (and Expression).” In Richard Wollheim on the Art of Painting. Art as Representation andExpression, edited by Rob van Gerwen, 151–70. Cambridge, New York: Cambridge University Press.

____________. 2005. “The Artistic and the Aesthetic.” The British Journal of Aesthetics 45:368–387.

Merleau-Ponty, Maurice. 1998. “The visible and the invisible.” In Continental Philosophy, edited by William Mcneill and Karen Feldman, 168–175. Oxford: Blackwell.

Mink, Louis O. 1969. “History and Fiction as Modes of Comprehension.” New Literary History 1:541–58.

Morton, L. H., and T. R. Foster. 1991. “Goodman, Forgery, and the Aesthetic.” Journal of Aesthetics and Art Criticism 49:155–60.

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