Results for 'Edgar Primrose Dickie'

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  1. God is Light.Edgar Primrose Dickie - 1954
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  2. God Transcendent Foundation for a Christian Metaphysic.Karl Heim, Edgar Primrose Dickie & Edwyn Robert Bevan - 1935 - Nisbet & Co..
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  3.  12
    Reconsiderations 6Aesthetic Judgment.George Dickie & D. W. Prall - 1983 - Journal of Aesthetics and Art Criticism 42 (1):83.
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  4. Art and the aesthetic: an institutional analysis.George Dickie - 1974 - Ithaca, N.Y.: Cornell University Press.
  5.  97
    The Art Circle: A Theory of Art.George Dickie - 1984 - Haven.
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  6. Defining Art.George Dickie - 1969 - American Philosophical Quarterly 6 (3):253 - 256.
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  7. How Proper Names Refer.Imogen Dickie - 2011 - Proceedings of the Aristotelian Society 111 (1pt1):43-78.
    This paper develops a new account of reference-fixing for proper names. The account is built around an intuitive claim about reference fixing: the claim that I am a participant in a practice of using α to refer to o only if my uses of α are constrained by the representationally relevant ways it is possible for o to behave. §I raises examples that suggest that a right account of how proper names refer should incorporate this claim. §II provides such an (...)
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  8. Negation, anti-realism, and the denial defence.Imogen Dickie - 2010 - Philosophical Studies 150 (2):161 - 185.
    Here is one argument against realism. (1) Realists are committed to the classical rules for negation. But (2) legitimate rules of inference must conserve evidence. And (3) the classical rules for negation do not conserve evidence. So (4) realism is wrong. Most realists reject 2. But it has recently been argued that if we allow denied sentences as premisses and conclusions in inferences we will be able to reject 3. And this new argument against 3 generates a new response to (...)
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  9. Introduction to aesthetics: an analytic approach.George Dickie - 1997 - New York: Oxford University Press.
    This book is an introduction to aesthetics, from the perspective of analytic philosophy. It traces aesthetics from its ancient beginnings through the changes it underwent in the eighteenth, nineteenth, and the first half of the twentieth century. The responses in the 1960s of the cultural theories to these earlier developments are discussed in detail. Five traditional art evaluational theories, Beardsley's and Goodman's evaluational theories, and the author's own evaluational theory are presented. Four miscellaneous topics are discussed - internationalist criticism, symbolism, (...)
  10. Beardsley’s Phantom Aesthetic Experience.George Dickie - 1965 - Journal of Philosophy 62 (5):129–136.
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  11.  44
    Reply to Hofweber and Ninan.Imogen Dickie - 2017 - Philosophy and Phenomenological Research 95 (3):745-760.
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  12. Understanding Singular Terms.Imogen Dickie - 2020 - Aristotelian Society Supplementary Volume 94 (1):19-55.
    This paper uses a puzzle arising from cases of felicitous underspecification in uses of demonstratives to motivate a new model of communication using singular terms.
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  13. The Sortal Dependence of Demonstrative Reference.Imogen Dickie - 2011 - European Journal of Philosophy 22 (1):34-60.
    : ‘Sortalism about demonstrative reference’ is the view that the capacity to refer to things demonstratively rests on the capacity to classify them according to their kinds. This paper argues for one form of sortalism. Section 1 distinguishes two sortalist views. Section 2 argues that one of them is false. Section 3 argues that the other is true. Section 4 uses the argument from Section 3 to develop a new response to the objection to sortalism from examples where we seem (...)
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  14. Introduction to the New Testament.Robert W. Crapps, Edgar V. McKnight & David A. Smith - 1969
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  15. Is psychology relevant to aesthetics?George Dickie - 1962 - Philosophical Review 71 (3):285-302.
  16. The generality of particular thought.Imogen Dickie - 2010 - Philosophical Quarterly 60 (240):508-531.
    This paper is about the claim that, necessarily, a subject who can think that a is F must also have the capacities to think that a is G, a is H, a is I, and so on (for some reasonable range of G, H, I), and that b is F, c is F, d is F, and so on (for some reasonable range of b, c, d). I set out, and raise objections to, two arguments for a strong version of (...)
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  17. The intentional fallacy: Defending Beardsley.George Dickie & W. Kent Wilson - 1995 - Journal of Aesthetics and Art Criticism 53 (3):233-250.
  18.  39
    Possibilidade, compossibilidade e incompossibilidade em Leibniz.Edgar Marques - 2004 - Kriterion: Journal of Philosophy 45 (109):175-187.
  19. What is Art.George Dickie - 1976 - In Lars Aagaard-Mogensen, Culture and art: an anthology. Atlantic Highlands, N.J.: Humanities Press.
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  20. Coda.Jeffrey P. Fry & Andrew Edgar - 2022 - In Jeffrey P. Fry & Andrew Edgar, Philosophy, Sport and the Pandemic. New York: Routledge.
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  21. Art: Function or procedure: Nature or culture?George Dickie - 1997 - Journal of Aesthetics and Art Criticism 55 (1):19-28.
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  22.  19
    Perspective of Governance in University Institutions in Virtual Digital Environments.Edgar German Martínez, Elizabeth Sánchez Vázquez, Fernando Augusto Poveda Aguja, Lugo Manuel Barbosa Guerrero & Edgar Olmedo Cruz Mican - 2023 - Human Review. International Humanities Review / Revista Internacional de Humanidades 21 (1):71-81.
    Study was born in the construction of problem concepts in the deployment of a governance strategy in institutions under digital environments, a technical position of understanding from South America is raised, the initial hypothesis of knowing aspects and determining requirements, an efficient model of governance can be achieved from the use and application of ICT, which allow to argue the as of the process, The use ICT, TAC, TEP as change managers in virtuality, to interact in a disruptive way, the (...)
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  23. The triumph in triumph of the will.George Dickie - 2005 - British Journal of Aesthetics 45 (2):151-156.
    The question at issue is whether moral defects of artworks can be aesthetic defects. Noël Carroll claims they can be, Berys Gaut claims they are, and James Anderson and Jeffrey Dean claim they are not. I side with Anderson and Dean and produce additional arguments against Carroll and Gaut. Triumph of the Will serves as an example that all five of us agree is a morally flawed artwork. I argue and conclude that its horrible moral defects are not aesthetic ones. (...)
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  24.  51
    (1 other version)Art and value.G. Dickie - 2000 - British Journal of Aesthetics 40 (2):228-241.
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  25.  48
    (1 other version)Observações críticas acerca da noção Leibniziana de decretos divinos possíveis.Edgar Marques - 2001 - Kriterion: Journal of Philosophy 42 (104):97-112.
    Este artigo apresenta, em primeiro lugar, uma reconstrução conceitual das razões que levam Leibniz, em sua correspondência com Arnauld, a introduzir o conceito de decretos divinos possíveis. Em um segundo momento, o artigo desenvolve alguns argumentos para demonstrar que a introdução desse conceito torna inconsistente a arquitetônica global da metafísica leibniziana.
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  26.  30
    Percepção, autoconsciência E continuidade em Leibniz.Edgar Marques - 2016 - Cadernos Espinosanos 34:15-38.
    De acordo com o Princípio da Continuidade, adotado por Leibniz, toda mudança ocorre gradativamente, havendo sempre um grau intermediário entre dois estados quaisquer. Esse princípio parece ser, contudo, incompatível com a doutrina leibniziana acerca da natureza da autoconsciência, uma vez que Leibniz, ao menos prima facie, sustenta haver uma diferença de natureza – e não apenas de grau – entre percepções inconscientes e conscientes, fornecendo esta distinção a base para a diferenciação ontológica das mônadas entre puras enteléquias, almas e espíritos. (...)
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  27.  6
    Paul Redding: Conceptual Harmonies: The Origins and Relevance of Hegel’s Logic.Edgar Maraguat - 2024 - Journal of Transcendental Philosophy 5 (2-3):139-143.
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  28.  71
    Everybody needs to know?Imogen Dickie - 2017 - Philosophical Studies 174 (10):2571-2583.
    I propose an amendment to Sosa’s virtue reliabilism. Sosa’s framework assigns a central role to sophisticated, conceptual, motivational states: ‘intentions to affirm aptly’. I argue that the suggestion that ordinary knowers in fact are motivated by such intentions in everyday belief-forming situations is at best problematic, and explore the possibility of an alternative virtue reliabilist framework. In this alternative framework, the role Sosa assigns to ‘intentions to affirm aptly’ is played instead by non-conceptual motivational states, which I call ‘needs’. The (...)
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  29.  94
    Beardsley, Sibley, and critical principles.George Dickie - 1987 - Journal of Aesthetics and Art Criticism 46 (2):229-237.
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  30. The Essential Connection Between Epistemology and the Theory of Reference.Imogen Dickie - 2016 - Philosophical Issues 26 (1):99-129.
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  31. Intentions: Conversations and art.George Dickie - 2006 - British Journal of Aesthetics 46 (1):70-81.
    This paper is a continuation of a debate between Noël Carroll, who defends intentionalism, and Kent Wilson and myself, who argue that the intentions of artists are not relevant to the interpretation of works of art.
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  32.  19
    Creative and critical thinking.William Edgar Moore - 1967 - Boston,: Houghton Mifflin. Edited by Winston Woodard Little.
  33.  22
    Economía ecológica. Paradigmas de la economía.Edgar Ernesto Caro-Ramírez - 2016 - Persona y Bioética 20 (2).
    The green economy redefines the function of economics as the study and management of sustainability for solving economic crisis. This article suggests the existence of economic paradigms, arguing they have no solution. They are the same ones of complexity; in other words, around all living beings who study the system, within the various biological levels: in the bioeconomy. The study of these paradigms is based on the contemporary scientific method conditioned to classical logic. A view towards the non-classical logic particular (...)
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  34. Hindu logic as preserved in China and Japan.Sadajiro Sugiura & Edgar Arthur Singer - 1900 - Boston,: Ginn & co.. Edited by Edgar A. Singer.
     
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  35. What is anti-art?George Dickie - 1975 - Journal of Aesthetics and Art Criticism 33 (4):419-421.
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  36. Informative identities in the begriffsschrift and 'on sense and reference'.Imogen Dickie - 2008 - Canadian Journal of Philosophy 38 (2):pp. 269-288.
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  37.  19
    Defining art : Intension and extension.George Dickie - 2004 - In Peter Kivy, The Blackwell Guide to Aesthetics. Malden, MA: Wiley-Blackwell. pp. 45–62.
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  38.  43
    Dean, definition, and the romantic artist.George Dickie - 2004 - Journal of Aesthetics and Art Criticism 62 (4):389-391.
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  39.  91
    The Emergence of Thought.Edgar Morin - 1991 - Diogenes 39 (155):135-146.
    If we consider human thought as the, so far, ultimate, if not supreme, stage in the evolution of life on Earth, we must also try to understand the evolutionary conditions that allowed it to emerge, and that leads us to look again at living organization.Whatever the origins of life (cf. the text of Jacques Reisse, p. 53), it is clear that the oldest living organization, that of a protobacteria, is extremely complex in its functional and complementary association of extremely diverse (...)
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  40. How Wrong Can You Be?Imogen Dickie - 2021 - Analysis 81 (3):501-512.
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  41. Logic in Early Modern Thought.Katarina Peixoto & Edgar da Rocha Marques - 2020 - Encyclopedia of Early Modern Philosophy and the Sciences,.
    Logical reflection in early modern philosophy (EMP) is marked by the instability of the period, although it is more lasting (the Port-Royal Logic was nevertheless used as a handbook in philosophy courses until the end of the nineteenth century). It started in the sixteenth century and ended in the nineteenth century, a period of 300 years during which there were deep transformations in the conceptions of authority and scientific method. For the history of twentieth-century philosophy, it was the period of (...)
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  42. Skill Before Knowledge. [REVIEW]Imogen Dickie - 2012 - Philosophy and Phenomenological Research 85 (3):737-745.
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  43.  87
    James Shelley on critical principles.George Dickie - 2003 - British Journal of Aesthetics 43 (1):57-64.
    James Shelley claims that Hume's principles of taste have value-neutral subjects rather than value-laden ones that, for example, refer to aesthetic properties. I try to rebut his claim. I argue that Hume's essay on taste contains the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties in artworks, even if he does not explicitly make this point. I also deny Shelley's contention that I claim that principles are used as part of a temporal process (...)
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  44. Reading Sibley.George Dickie - 2004 - British Journal of Aesthetics 44 (4):408-412.
    Haydar claim that Frank Sibley offers a criterion for distinguishing aesthetically valenced from non-aesthetically valenced properties. I argue that they have misunderstood what Sibley was doing and that he never even intended to offer any such criterion. They also argue that Sibley was wrong to claim that inherently aesthetic merits are reversible. They claim that aesthetic merits—for example, elegance—are irreversible and offer some arguments for their view. I produce a counterexample to their claim about elegance and suggest that such counterexamples (...)
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  45. Taste and attitude: the origin of the aesthetic.George Dickie - 1973 - Theoria 39 (1-3):153-170.
  46.  97
    Who practised love-magic in classical antiquity and in the late Roman world?Mathew W. Dickie - 2000 - Classical Quarterly 50 (02):563-.
    Very soon after I began working on the identity of magic-workers in classical antiquity, I realized that it was necessary to come to terms with a thesis about depictions of erotic magic-working in Greek and Roman literature. It asserted that male writers engaged in a systematic misrepresentation of the realities of magic-working in portraying erotic magic as an exclusively female preserve; the reality was that men were the main participants in this form of magic-working. The thesis is based on the (...)
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  47.  18
    ¿"Empirismo encubierto" en Popper? El papel epistemológico de la dimensión pragmática del contexto de descubrimiento.Edgar Serna Ramírez - 2013 - Dianoia 58 (71):127-152.
    La tesis principal que aquí se defiende es que, para Popper, la validez del conocimiento estuvo vinculada siempre a la dimensión pragmática del contexto de descubrimiento (e incluso dependía de ella). Constituye, pues, un error afirmar que, para él, 1) dicha validez estaba ligada a un "empirismo encubierto" (opuesto a la tesis sobre la carga teórica de toda observación), según lo ha planteado Ana Rosa Pérez Ransanz, y que 2) en sus ideas, los factores pragmáticos carecían de importancia epistemológica, como (...)
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  48.  31
    A Tale of Two Artworlds.George Dickie - 1993 - In Mark Rollins, Danto and His Critics. Malden, MA: Wiley-Blackwell. pp. 109–117.
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  49.  75
    A Lemma from Nowhere.Imogen Dickie - 2020 - Critica 52 (154):11-47.
    This paper uses cases involving empty singular terms (on the one hand, cases of what I call “accidental aboutness-failure”; on the other, cases involving proper names occurring in fictions) to argue for a claim about the goal of ordinary belief-forming activity, and shows how this claim generates new foundations for the theory of reference.
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  50. Scobie on "the identity of a work of art".George T. Dickie - 1962 - Mind 71 (281):98-99.
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