Abrams, M. H., Doing Things with Texts: Essays in Criticism and Critical Theory, ed. Fischer, Michael (New York: W. W. Norton, 1989).Google Scholar

Abrams, M. H., The Mirror and the Lamp (Oxford: Oxford University Press, 1953).Google Scholar

Abrams, M. H., Natural Supernaturalism: Tradition and Revolution in Romantic Literature (New York: W. W. Norton, 1971).Google Scholar

Adams, Hazard, and Searle, Leroy (eds.), Critical Theory Since 1965 (Tallahassee, FL: Florida State University Press, 1986).Google Scholar

Adorno, Theodor W., Aesthetic Theory, ed. and trans. Hullot-Kentor, Robert (Minneapolis, MN: University of Minnesota Press, 1997).Google Scholar

Adorno, Theodor W., Negative Dialectics, trans. Ashton, E. B. (New York: Continuum, 1973).Google Scholar

Adorno, Theodor, “Resignation,” Telos 35 (spring 1968), pp. 165–68.Google Scholar

Althusser, Louis, “Ideology and Ideological State Apparatuses,” trans. Ben Brewster, reprinted in Critical Theory Since 1965, ed. Adams and Searle, pp. 239–50.

Altieri, Charles, Subjective Agency (Oxford: Basil Blackwell, 1994).Google Scholar

Aristotle, , Poetics, trans. Janko, Richard (Indianapolis, IN: Hackett, 1987).Google Scholar

Aristotle, , Rhetoric, trans. Roberts, W. Rhys, in The Basic Works of Aristotle, ed. McKeon, Richard (New York: Random House, 1941), pp. 1325–451.Google Scholar

Bahktin, Mikhail M., The Dialogic Imagination, ed. Holquist, Michael, trans. Emerson, Caryl and Holquist, Michael (Austin, TX: University of Texas Press, 1981).Google Scholar

Barrell, John, Poetry, Language and Politics (Manchester: Manchester University Press, 1988).Google Scholar

Barthes, Roland, “The Death of the Author” (1968); reprinted in Philosophy of Art, ed. Neill and Ridley, pp. 386–90.

Battersby, Christine, Gender and Genius: Towards a Feminist Aesthetics (London: Women’s Press, 1989; reprinted Bloomington, IN: Indiana University Press, 1990).Google Scholar

Baxandall, Michael, Patterns of Intention: On the Historical Explanation of Pictures (New Haven, CT: Yale University Press, 1985).Google Scholar

Beardsley, Monroe C., Aesthetics: Problems in the Philosophy of Criticism, 2nd edn (Indianapolis, IN: Hackett, 1981).Google Scholar

Beardsley, Monroe C., Aesthetics from Classical Greece to the Present: A Short History (University, AL: University of Alabama Press, 1975).Google Scholar

Beiser, Frederick., Schiller as Philosopher: A Re-examination (Oxford: Clarendon Press, 2005).CrossRefGoogle Scholar

Bell, Clive, Art (1914), chapter 1, “The Aesthetic Hypothesis,” reprinted in Philosophy of Art, ed. Neill and Ridley, pp. 99–110.

Benjamin, Walter, “The Work of Art in the Age of Mechanical Reproduction,” in Benjamin, Walter, Illuminations, trans. Zohn, Harry, ed. Arendt, Hannah (New York: Harcourt, Brace, & World, 1968), pp. 217–51.Google Scholar

Berger, John, Ways of Seeing (Harmondsworth: Penguin, 1972).Google Scholar

Bermúdez, José Luis and Gardner, Sebastian (eds.), Art and Morality (London: Routledge, 2003).Google Scholar

Bernstein, J. M., “Aesthetics, Modernism, Literature: Cavell’s Transformations of Philosophy,” in Stanley Cavell, ed. Eldridge, R. (Cambridge: Cambridge University Press, 2003), pp. 107–42.CrossRefGoogle Scholar

Binkley, Timothy, “Piece: Contra Aesthetics,” Journal of Aesthetics and Art Criticism 35 (1977), pp. 265–77; reprinted in Philosophy Looks at the Arts, ed. Margolis, pp. 25–44.CrossRefGoogle Scholar

Bloom, Harold, The Anxiety of Influence: A Theory of Poetry (Oxford: Oxford University Press, 1973).Google Scholar

Booth, Wayne C., The Company we Keep: An Ethics of Fiction (Berkeley, CA: University of California Press, 1988).Google Scholar

Bourdieu, Pierre, Distinction: A Social Critique of the Judgement of Taste, trans. Nice, Richard (Cambridge, MA: Harvard University Press, 1984).Google Scholar

Brooks, Cleanth, The Well Wrought Urn (New York: Reynal & Hitchcock, 1947).Google Scholar

Bürger, Peter, Theory of the Avant-Garde, trans. Shaw, Michael (Minneapolis: University of Minnesota Press, 1984).Google Scholar

Carroll, Noël, “Art and Ethical Criticism: An Overview of Recent Directions of Research,” Ethics 110, 2 (January 2000), pp. 350–87.CrossRefGoogle Scholar

Carroll, Noël, “Art, Narrative, and Moral Understanding,” in Aesthetics and Ethics, ed. Levinson, pp. 126–60.

Carroll, Noël, Beyond Aesthetics: Philosophical Essays (Cambridge: Cambridge University Press, 2001).CrossRefGoogle Scholar

Carroll, Noël, “Moderate Moralism,” British Journal of Aesthetics 36, 3 (1996), pp. 223–37.CrossRefGoogle Scholar

Carroll, Noël, “Morality and Aesthetics: Historical and Conceptual Overview,” in Encyclopedia of Aesthetics, ed. Kelly, vol. III, pp. 79–82.

Carroll, Noël, Philosophy of Art: A Contemporary Introduction (London: Routledge, 1999).CrossRefGoogle Scholar

Carroll, Noël, The Philosophy of Horror, or Paradoxes of the Heart (London: Routledge, 1990).Google Scholar

Carroll, Noël, A Philosophy of Mass Art (Oxford: Clarendon Press, 1998).Google Scholar

Carroll, Noël, “The Wheel of Virtue: Art, Literature, and Moral Knowledge,” Journal of Aesthetics and Art Criticism 60, 1 (winter 2002), pp. 3–26.CrossRefGoogle Scholar

Carroll, Noël, and Choi, Jinhee, (eds.), Philosophy of Film and Motion Pictures (Malden, MA: Blackwell, 2006).Google Scholar

Cavell, Stanley, “Aesthetic Problems of Modern Philosophy,” in Cavell, Must We Mean What We Say?, pp. 73–96.

Cavell, Stanley, “Being Odd, Getting Even,” in Cavell, In Quest of the Ordinary, pp. 105–49.

Cavell, Stanley, In Quest of the Ordinary: Lines of Skepticism and Romanticism (Chicago, IL: University of Chicago Press, 1988).Google Scholar

Cavell, Stanley, “Music Discomposed,” in Cavell, Must We Mean What We Say?, pp. 180–212.

Cavell, Stanley, Must We Mean What We Say? (New York: Charles Scribner’s Sons, 1969).Google Scholar

Cavell, Stanley, This New yet Unapproachable America: Lectures after Emerson after Wittgenstein (Albuquerque, NM: Living Batch Press, 1989).Google Scholar

Chipp, Herschel B. (ed.), Theories of Modern Art (Berkeley, CA: University of California Press, 1968).Google Scholar

Chua, Daniel K. L., Absolute Music and the Construction of Meaning (Cambridge: Cambridge University Press, 1999).CrossRefGoogle Scholar

Cohen, Ted, “Aesthetic/non-Aesthetic and the Concept of Taste: A Critique of Sibley’s Position,” Theoria 29 (1973), pp. 113–52; reprinted in Aesthetics, ed. Dickie and Sclafani, pp. 838–66.Google Scholar

Cohen, Ted, “High and Low Thinking About High and Low Art,” Journal of Aesthetics and Art Criticism 51, 2 (spring 1993), pp. 151–56.CrossRefGoogle Scholar

Cohen, Ted, “Identifying with Metaphor: Metaphors of Personal Identification,” Journal of Aesthetics and Art Criticism 57, 4 (fall 1999), pp. 399–409.CrossRefGoogle Scholar

Cohen, Ted, “Literature and Morality,” in The Oxford Handbook of Philosophy and Literature, ed. Eldridge, pp. 486–95.

Cohen, Ted, “Television: Contemporary Thought,” in Encyclopedia of Aesthetics, ed. Kelly, vol. IV, pp. 369–70.

Cohen, Ted, Thinking of Others: On the Talent for Metaphor (Princeton: Princeton University Press, 2008).Google Scholar

Cohen, Ted, “Three Problems in Kant’s Aesthetics,” British Journal of Aesthetics 42, 1 (January 2002), pp. 1–12.CrossRefGoogle Scholar

Cohen, Ted, and Guyer, Paul (eds.), Essays in Kant’s Aesthetics (Chicago, IL: University of Chicago Press, 1982).Google Scholar

Coleridge, Samuel Taylor, Biographia Literaria, ed. Watson, George (London: J. M. Dent, 1965).Google Scholar

Collingwood, R. G., The Principles of Art (Oxford: Clarendon Press, 1938).Google Scholar

Crisp, Roger, and Slote, Michael (eds.), Virtue Ethics (Oxford: Oxford University Press, 1997).Google Scholar

Currie, Gregory, “The Capacities that Enable Us to Produce and Consume Art,” in Imagination, Philosophy, and the Arts, eds. Kieran and Lopes, pp. 293–304.

Currie, Gregory, Image and Mind: Film, Philosophy, and Cognitive Science (Cambridge: Cambridge University Press, 1995).CrossRefGoogle Scholar

Currie, Gregory, “Imagination and Simulation: Aesthetics Meets Cognitive Science,” in Mental Simulation, eds. Davies and Stone, pp. 151–69.

Currie, Gregory, “The Moral Psychology of Fiction,” Australasian Journal of Philosophy 73 (1995), pp. 250–59.CrossRefGoogle Scholar

Currie, Gregory, “Realism of Character and the Value of Fiction,” in Aesthetics and Ethics, ed. Levinson, pp. 161–81.

Dahlhaus, Carl, The Idea of Absolute Music, trans. Lustig, Roger (Chicago, IL: University of Chicago Press, 1989).Google Scholar

Danto, Arthur C., The Abuse of Beauty: Aesthetics and the Concept of Art (Peru, IL: Open Court, 2003).Google Scholar

Danto, Arthur C., Embodied Meanings: Critical Essays and Aesthetic Meditations (New York: Farrar, Straus, & Giroux, 1994).Google Scholar

Danto, Arthur C., “Philosophy as/and/of Literature,” Grand Street 3, 3 (spring 1984), pp. 151–76.CrossRefGoogle Scholar

Danto, Arthur C., “The Space of Beauty: Review of The Power of the Center: A Study of Composition in the Visual Arts by Rudolf Arnheim,” New Republic (November 15, 1982), pp. 32B–35B.

Danto, Arthur C., The Transfiguration of the Commonplace (Cambridge, MA: Harvard University Press, 1981).Google Scholar

Danto, Arthur C., The Wake of Art: Criticism, Philosophy, and the Ends of Taste, ed. Horowitz, Gregg and Huhn, Tom (Amsterdam: Overseas Publishers Association, 1998).Google Scholar

Davidson, Donald, “The Second Person,” in Davidson, Subjective, Intersubjective, Objective, pp. 107–21.

Davidson, Donald, Subjective, Intersubjective, Objective (Oxford: Clarendon Press, 2001).CrossRefGoogle Scholar

Davies, Martin, and Stone, Tony (eds.), Mental Simulation (Oxford: Blackwell, 1995).Google Scholar

Davies, Stephen, Musical Meaning and Expression (Ithaca, NY: Cornell University Press, 1994).Google Scholar

Davies, Stephen, The Artful Species: Aesthetics, Art, and Evolution (Oxford: Oxford University Press, 2013).Google Scholar

Davies, Stephen, “Artistic Expression and the Hard Case of Pure Music,” in Contemporary Debates in Aesthetics and the Philosophy of Art, ed. Kieran, pp. 179–91.

Derrida, Jacques, Of Grammatology, trans. Spivak, Gayatri Chakravorty (Baltimore, MD: Johns Hopkins University Press, 1974).Google Scholar

Derrida, Jacques, “Structure, Sign and Play in the Discourse of the Human Sciences,” in The Structuralist Controversy, ed. Macksey and Donato, pp. 247–65.

Dewey, John, Art as Experience (New York: Penguin Putnam, 1934).Google Scholar

Dickie, George, Art and the Aesthetic (Ithaca, NY: Cornell University Press, 1974).Google Scholar

Dickie, George, The Art Circle (New York: Haven Publications, 1984).Google Scholar

Dickie, George, and Sclafani, Richard J. (eds.), Aesthetics: A Critical Anthology (New York: St. Martin’s Press, 1977).Google Scholar

Duchamp, Marcel, “Interview with James Johnson Sweeney,” in “Eleven Europeans in America,” Bulletin of the Museum of Modern Art (New York) 12, 4–5 (1946); reprinted in Theories of Modern Art, ed. Chipp, pp. 392–95.Google Scholar

Dutton, Denis, The Art Instinct: Beauty, Pleasure, and Human Evolution (Oxford: Oxford University Press, 2009).Google Scholar

Eaton, Marcia, “Morality and Ethics: Contemporary Aesthetics and Ethics,” in The Encyclopedia of Philosophy, ed. Kelly, vol. III, pp. 282–85.

Eldridge, Richard, “Aesthetics and Ethics,” in Oxford Handbook of Aesthetics, ed. Levinson, pp. 722–32.

Eldridge, Richard, “Althusser and Ideological Criticism of the Arts,” in Explanation and Value in the Arts, ed. Ivan Gaskell and Salim Kemal; reprinted in Eldridge, Persistence of Romanticism, pp. 165–88.

Eldridge, Richard, “Form and Content: An Aesthetic Theory of Art,” British Journal of Aesthetics 25, 4 (autumn 1985), pp. 303–16; reprinted in Philosophy of Art, ed. Neill and Ridley, pp. 239–53.CrossRefGoogle Scholar

Eldridge, Richard, “Hegel on Music,” in Hegel and the Arts, ed. Houlgate, pp. 119–45.

Eldridge, Richard, “Introduction: Philosophy and Literature as Forms of Attention,” in The Oxford Handbook of Philosophy and Literature, ed. Eldridge pp. 3–15

Eldridge, Richard, “Introduction: Philosophy and Literature as Forms of Attention,” in The Oxford Handbook of Philosophy and Literature, ed. Eldridge, pp. 3–15.

Eldridge, Richard, Leading a Human Life: Wittgenstein, Intentionality, and Romanticism (Chicago, IL: University of Chicago Press, 1997).Google Scholar

Eldridge, Richard, Literature, Life, and Modernity (New York: Columbia University Press, 2008).CrossRefGoogle Scholar

Eldridge, Richard, On Moral Personhood: Philosophy, Literature, Criticism, and Self-Understanding (Chicago, IL: University of Chicago Press, 1987).Google Scholar

Eldridge, Richard (ed.), The Oxford Handbook of Philosophy and Literature (Oxford: Oxford University Press, 2009).CrossRefGoogle Scholar

Eldridge, Richard, The Persistence of Romanticism: Essays in Philosophy and Literature (Cambridge: Cambridge University Press, 2001).Google Scholar

Eldridge, Richard, “Problems and Prospects of Wittgensteinian Aesthetics,” Journal of Aesthetics and Art Criticism 45, 3 (spring 1987), pp. 251–61.CrossRefGoogle Scholar

Eldridge, Richard, “The Question of Truth in Literature: Die Poetische Auffassung der Welt,” in Fictional Characters, Real Problems: Essays on the Ethical Content of Literature, ed. Garry L. Hagberg.

Eldridge, Richard, “What Writers Do: The Value of Literary Imagination,” Journal of Literary Theory 3, 1 (2009), pp. 1–18.CrossRefGoogle Scholar

Eldridge, Richard and Rhie, Bernard (eds.), Stanley Cavell and Literary Studies (London: Continuum, 2011).Google Scholar

Eldridge, Richard and Rhie, Bernard, “Introduction: Cavell, Literary Studies, and the Human Subject: Consequences of Skepticism,” in Stanley Cavell and Literary Studies, ed. Eldridge and Rhie, pp. 1–14.

Emerson, Ralph Waldo, “Self-Reliance,” in Selections from Ralph Waldo Emerson, ed. Whicher, Stephen E. (Boston, MA: Houghton Mifflin, 1957), pp. 147–68.Google Scholar

Feagin, Susan L., “The Pleasures of Tragedy,” American Philosophical Quarterly, 20, 1 (January1983), pp. 95–104.Google Scholar

Feagin, Susan L., Reading with Feeling (Ithaca, NY: Cornell University Press, 1996).Google Scholar

Felski, Rita, Uses of Literature (Oxford: Blackwell, 2008).CrossRefGoogle Scholar

Fish, Stanley, “Is there a Text in this Class?,” in Fish, S., Is there a Text in this Class? (Cambridge, MA: Harvard University Press, 1980); reprinted in Critical Theory Since 1965, ed. Adams and Searle, pp. 525–33.Google Scholar

Foster, Hal, “Postmodernism: A Preface,” in The Anti-Aesthetic: Essays on Post-Modern Culture, ed. Foster, H. (Port Townsend, WA: Bay Press, 1983), pp. ix–xvi.Google Scholar

Foster, Hal, The Return of the Real (Cambridge, MA: MIT Press, 1996).Google Scholar

Foucault, Michel, The Order of Things, trans. not named (New York: Random House, 1970).Google Scholar

Foucault, Michel, “What is an Author?,” in Critical Theory Since 1965, ed. Adams and Searle, pp. 138–48.

Freeland, Cynthia, But is it Art? (Oxford: Oxford University Press, 2001).Google Scholar

Fried, Michael, Absorption and Theatricality: Painting and Beholder in the Age of Diderot (Berkeley, CA: University of California Press, 1980).Google Scholar

Fried, Michael, Art and Objecthood: Essays and Reviews (Chicago, IL: University of Chicago Press, 1998).Google Scholar

Frye, Northrop, “The Drunken Boat,” in Romanticism Reconsidered, ed. Frye, N. (New York: Columbia University Press, 1963), pp. 1–25.Google Scholar

Furtak, Rick Anthony, “Poetics of Sentimentality,” Philosophy and Literature 26, 1 (April 2002), pp. 207–15.CrossRefGoogle Scholar

Gallie, W. B., “Is The Prelude a Philosophical Poem?,” Philosophy 22 (1947), pp. 124–38; reprinted in Wordsworth, Prelude 1799, 1805, 1850, pp. 663–78.CrossRefGoogle Scholar

Gardner, John, On Moral Fiction (New York: Harper Collins, 1978).Google Scholar

Gaskell, Ivan, Vermeer’s Wager: Speculations on Art History, Theory, and Museums (London: Reaktion, 2000).Google Scholar

Gaskell, Ivan, and Kemal, Salim (eds.), Explanation and Value in the Arts (Cambridge: Cambridge University Press, 1993).Google Scholar

Gaut, Berys, “Art and Ethics,” in The Routledge Companion to Aesthetics, ed. Gaut and Lopes, pp. 341–52.

Gaut, Berys, Art, Emotion and Ethics (Oxford: Oxford University Press, 2007).CrossRefGoogle Scholar

Gaut, Berys, “The Ethical Criticism of Art,” in Aesthetics and Ethics, ed. Levinson, pp. 182–203.

Gethmann-Siefert, Annemarie, Einführung in Hegels Ästhetik (Stuttgart: Uni-Taschenbuch, 2005).Google Scholar

Goffen, Rona (ed.), Titian’s Venus of Urbino (Cambridge: Cambridge University Press, 1997).Google Scholar

Goldman, Alan, “Representation: Conceptual and Historical Overview,” in Encyclopedia of Aesthetics, ed. Kelly, vol. IV, pp. 137A–139B.

Goodman, Nelson, The Languages of Art, 2nd edn (Indianapolis, IN: Hackett, 1976).Google Scholar

Goodman, Nelson, Ways of Worldmaking (Indianapolis, IN: Hackett, 1978).Google Scholar

Gould, Timothy, “The Audience of Originality: Kant and Wordsworth on the Reception of Genius,” in Essays in Kant’s Aesthetics, ed. Cohen and Guyer, pp. 179–93.

Gould, Timothy, “Genius: Conceptual and Historical Overview,” in Encyclopedia of Aesthetics, ed. Kelly, vol. II, pp. 287–92.

Gracyk, Theodore, and Kania, Andrew (eds.), The Routledge Companion to Philosophy and Music (London: Routledge, 2011).Google Scholar

Green, Mitchell, Self-Expression (Oxford: Clarendon Press, 2007).CrossRefGoogle Scholar

Guyer, Paul, Kant and the Claims of Taste (Cambridge, MA: Harvard University Press, 1979).Google Scholar

Hagberg, G. L., Art as Language: Wittgenstein, Meaning, and Aesthetic Theory (Ithaca, NY: Cornell University Press, 1995).Google Scholar

Hagberg, G. L. (ed.), Fictional Characters, Real Problems: Essays on the Ethical Content in Literature (Oxford: Oxford University Press, forthcoming 2013).Google Scholar

Hamilton, Christopher, “Art and Moral Education,” in Art and Morality, ed. José Luis Bermúdez and Sebastian Gardner, pp. 37–55.

Hampshire, Stuart, “Logic and Appreciation,” World Review (October 1952); reprinted in Art and Philosophy, ed. Kennick, pp. 651–57.

Hanson, Karen, “How Bad Can Good Art Be?,” in Aesthetics and Ethics, ed. Levinson, pp. 204–26.

Harrison, Bernard, Inconvenient Fictions: Literature and the Limits of Theory (New Haven, CT: Yale University Press, 1991).CrossRefGoogle Scholar

Hegel, G. W. F., Aesthetics: Lectures on Fine Art, trans. Knox, T. M. (Oxford: Clarendon Press, 1975).Google Scholar

Hegel, G. W. F., Elements of the Philosophy of Right, ed. Wood, Allen W., trans. Nisbet, H. B. (Cambridge: Cambridge University Press, 1991).Google Scholar

Hegel, G. W. F., Phenomenology of Spirit, trans. Miller, A. V. (Oxford: Clarendon Press, 1977).Google Scholar

Heidegger, Martin, “The Origin of the Work of Art,” trans. Hofstadter, Albert, in Poetry, Language, Thought (New York: Harper & Row, 1971), pp. 17–87.Google Scholar

Herwitz, Daniel, Aesthetics (London: Continuum, 2008).Google Scholar

Herwitz, Daniel, Making Theory/Constructing Art (Chicago: University of Chicago Press, 1993).Google Scholar

Herwitz, Daniel, “Review of Understanding Pictures by Dominic Lopes,” Journal of Aesthetics and Art Criticism 57, 3 (summer 1999), pp. 385–88.CrossRefGoogle Scholar

Hölderlin, Friedrich, Essays and Letters on Theory, ed. and trans. Pfau, Thomas (Albany, NY: State University of New York Press, 1988).Google Scholar

Hopkins, Robert, Picture, Image and Experience (Cambridge: Cambridge University Press, 1998).Google Scholar

Horowitz, Gregg, “Aesthetics of the Avant-Garde,” in The Oxford Handbook of Aesthetics, ed. Levinson, pp. 748–60.

Horowitz, Gregg, and Huhn, Tom, “The Wake of Art: Criticism, Philosophy, and the Ends of Taste,” in Danto, Wake of Art, pp. 1–56.

Houlgate, Stephen (ed.), Hegel and the Arts (Evanston, IL: Northwestern University Press, 2007).Google Scholar

Huhn, Tom, book review, “The Field of Cultural Production: Essays on Art and Literature by Pierre Bourdieu,” Journal of Aesthetics and Art Criticism 54, 7 (winter 1996), pp. 88–90.CrossRefGoogle Scholar

Hume, David, An Enquiry Concerning Human Understanding, ed. Steinberg, Eric (Indianapolis, IL: Hackett, 1977).Google Scholar

Hume, David, “Of the Standard of Taste,” in Philosophy of Art, ed. Neill and Ridley, pp. 255–68.

Hume, David, “Of Tragedy,” in Hume, D., Essays Moral, Political and Literary (Oxford: Oxford University Press, 1963), pp. 221–30.Google Scholar

Hutcheson, Francis, An Inquiry Concerning Beauty, Harmony, and Design, ed. Kivy, Peter (The Hague: Martinus Nijhoff, 1973).Google Scholar

Hyman, John.The Objective Eye: Color, Form, and Reality in the Theory of Art (Chicago: University of Chicago Press, 2006).CrossRefGoogle Scholar

Isenberg, Arnold, “Critical Communication,” Philosophical Review 57 (July 1949), pp. 330–44; reprinted in Philosophy of Art, ed. Neill and Ridley, pp. 363–73.CrossRefGoogle Scholar

Iversen, Margaret, and Melville, Stephen, Writing Art History: Disciplinary Departures (Chicago: University of Chicago Press, 2010).Google Scholar

Jameson, Fredric, “Postmodernism and Consumer Society,” in The Anti-Aesthetic, ed. Foster, pp. 111–25.

Johnson, Samuel, Preface to Shakespeare’s Plays (Menston: Scholar Press, 1969).Google Scholar

Kant, Immanuel, Critique of the Power of Judgment, trans. Guyer, Paul and Matthews, Eric (Cambridge: Cambridge University Press, 2000).CrossRefGoogle Scholar

Kaufman, Robert, “Aura, Still,” October 99 (winter 2002), pp. 45–80.CrossRefGoogle Scholar

Kaufman, Robert, “Lyric Commodity Critique, Benjamin Adorno Marx, Baudelaire Baudelaire Baudelaire,” PMLA 123, 4 (January 2008), pp. 207–15.CrossRefGoogle Scholar

Kelly, Michael (ed.), Encyclopedia of Aesthetics, 4 vols. (Oxford: Oxford University Press, 1998).Google Scholar

Kemal, Salim, Kant’s Aesthetic Theory: An Introduction (New York: St. Martin’s Press, 1992).CrossRefGoogle Scholar

Kennick, W. E., “Does Traditional Aesthetics Rest on a Mistake?,” Mind 67, 267 (July 1958); reprinted in Aesthetics Today, ed. Philipson and Gudel, pp. 459–76.Google Scholar

Kennick, W. E. (ed.), Art and Philosophy, 2nd edn (New York: St. Martin’s Press, 1979).Google Scholar

Kerman, Joseph, Contemplating Music (Cambridge, MA: Harvard University Press, 1985).Google Scholar

Kieran, Matthew, “Art, Imagination, and the Cultivation of Morals,” Journal of Aesthetics and Art Criticism 54, 4 (fall 1996), pp. 337–51.CrossRefGoogle Scholar

Kieran, Matthew (ed), Contemporary Debates in Aesthetics and the Philosophy of Art (Oxford: Blackwell, 2006).Google Scholar

Kieran, Matthew, and Lopes, Dominic McIver, Imagination, Philosophy, and the Arts (London: Routledge: 2003).Google Scholar

Kivy, Peter, The Chorded Shell: Reflections on Musical Expression (Princeton, NJ: Princeton University Press, 1980).Google Scholar

Kivy, Peter, “Critical Study: Deeper than Emotion,” British Journal of Aesthetics 46, 3 (July 2006), pp. 287–311.CrossRefGoogle Scholar

Kivy, Peter, “Recent Scholarship and the British Tradition: A Logic of Taste – The First Fifty Years,” in Aesthetics: A Critical Anthology, ed. Dickie and Sclafani, pp. 626–42.

Knight, Deborah, “In Fictional Shoes: Mental Simulation in Fiction,” in Philosophy of Film and Motion Pictures, ed. Noël Carroll and Jinhee Choi, pp. 271–80.

Korsmeyer, Carolyn, Savoring Disgust: The Foul and the Fair in Aesthetics (New York: Oxford University Press, 2010).Google Scholar

Kramer, Lawrence, Classical Music and Postmodern Knowledge (Berkeley, CA: University of California Press, 1995).Google Scholar

Kristeller, Paul Oskar, “The Modern System of the Arts,” Journal of the History of Ideas 12 (1951, 1952); reprinted in Art and Philosophy, ed. Kennick, pp. 7–33.CrossRefGoogle Scholar

Lamarque, Peter, “How Can We Fear and Pity Fictions?,” British Journal of Aesthetics 21, 4 (April 1981), pp. 291–304.CrossRefGoogle Scholar

Levinson, Jerrold, Contemplating Art (Oxford: Oxford University Press, 2006).CrossRefGoogle Scholar

Levinson, Jerrold, “Defining Art Historically,” British Journal of Aesthetics 19 (1979); reprinted in Philosophy of Art, ed. Neill and Ridley, pp. 223–39.CrossRefGoogle Scholar

Levinson, Jerrold, “Music and Negative Emotion,” in Music and Meaning, ed. Robinson, pp. 215–41.

Levinson, Jerrold, “Musical Expressiveness,” in Levinson, The Pleasures of Aesthetics, pp. 90–125.

Levinson, Jerrold, The Pleasures of Aesthetics: Philosophical Essays (Ithaca, NY: Cornell University Press, 2006).Google Scholar

Levinson, Jerrold (ed.), Aesthetics and Ethics: Essays at the Intersection (Cambridge: Cambridge University Press, 1998).CrossRefGoogle Scholar

Levinson, Jerrold (ed.), The Oxford Handbook of Aesthetics (Oxford: Oxford University Press, 2003).Google Scholar

Lévi-Strauss, Claude, The Raw and the Cooked: Introduction to a Science of Mythology, volume I, trans. Weightman, John and Weightman, Doreen (New York: Harper & Row, 1969).Google Scholar

Lippard, Lucy, “The Spirit and the Letter,” Art in America 80, 4 (April 1990), pp. 238–45.Google Scholar

Lopes, Dominc McIver, A Philosophy of Computer Art (Milton Park: Routledge, 2010).Google Scholar

Lopes, Dominic, “Pictorial Color: Aesthetics and Cognitive Science,” Philosophical Psychology 12 (1999), pp. 415–28.CrossRefGoogle Scholar

Lopes, Dominic M. McIver, “Representation: Depiction,” in Encyclopedia of Aesthetics, ed. Kelly, vol. IV, pp. 139B–143B.

Lopes, Dominic, Understanding Pictures (Oxford: Clarendon Press, 1996).Google Scholar

Lopes, Dominic McIver, and Gaut, Berys (eds.), The Routledge Companion to Aesthetics (London: Routledge, 2001).Google Scholar

Lukács, Georg, “Art and Objective Truth” (1954); reprinted in Critical Theory Since 1965, ed. Adams and Searle, pp. 791–807.

Lyas, Colin, Aesthetics (Montreal: McGill-Queen’s University Press, 1997).CrossRefGoogle Scholar

Macksey, Richard, and Donato, Eugenio (eds.), The Structuralist Controversy: The Languages of Criticism and the Sciences of Man (Baltimore, MD: Johns Hopkins University Press, 1972).Google Scholar

Mandelbaum, Maurice, “Family Resemblances and Generalization Concerning the Arts,” American Philosophical Quarterly 2, 3 (1965); reprinted in Philosophy of Art, ed. Neill and Ridley, pp. 193–201.Google Scholar

Marcuse, Herbert, The Aesthetic Dimension: Toward A Critique of Marxist Aesthetics, trans. Sherover, Erica (Boston, MA: Beacon Press, 1977).Google Scholar

Margolis, Joseph, The Cultural Space of the Arts and the Infelicities of Reductionism (New York: Columbia, 2010).CrossRefGoogle Scholar

Margolis, Joseph (ed.), Philosophy Looks at the Arts, revised edn (Philadelphia, PN: Temple University Press, 1978).Google Scholar

Marx, Karl, “Economico-Philosophic Manuscripts of 1844,” in The Portable Karl Marx, ed. Kamenka, Eugene (Harmondsworth: Penguin, 1983), pp. 131–52.Google Scholar

Maus, Fred Everett, “Music as Drama,” in Music and Meaning, ed. J. Robinson, pp. 105–30.

McClary, Susan, Feminine Endings: Music, Gender, and Sexuality (Minneapolis, MN: University of Minnesota Press, 1991).Google Scholar

McLaughlin, Thomas M., “Clive Bell’s Aesthetic: Tradition and Significant Form,” Journal of Aesthetics and Art Criticism 35, 4 (summer 1977), pp. 433–43.CrossRefGoogle Scholar

Meltzer, Françoise, “Originality in Literature,” in Encyclopedia of Aesthetics, ed. Kelly, vol. III, pp. 413–16.

Meskin, Aaron, Phelan, Mark, Margaret, Moore., and Kieran, Matthew, “Mere Exposure to Bad Art,” British Journal of Aesthetics 53, 2 (April 2013), pp. 139–64.CrossRefGoogle Scholar

Meyer, Leonard B., Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture, new edn (Chicago, IL: University of Chicago Press, 1994).CrossRefGoogle Scholar

Mill, J. S., “On Liberty,” in Mill, J. S., Utilitarianism; On Liberty; Essay on Bentham, ed. Warnock, Mary (New York: New American Library, 1974), pp. 126–250.Google Scholar

Moran, Richard, “The Expression of Feeling in Imagination,” Philosophical Review 103, 1 (January 1994), pp. 75–106.CrossRefGoogle Scholar

Moretti, Franco (ed.), The Novel, volume I, History, Geography, and Culture (Princeton: Princeton University Press, 2006).Google Scholar

Moretti, Franco (ed.), The Novel, volume II, Forms and Themes (Princeton: Princeton University Press, 2006).Google Scholar

Mothersill, Mary, Beauty Restored (Oxford: Clarendon Press, 1984).Google Scholar

Mullin, Amy, “Evaluating Art: Morally Significant Imagining Versus Moral Soundness,” Journal of Aesthetics and Art Criticism 60, 2 (spring 2002), pp. 137–48.CrossRefGoogle Scholar

Murdoch, Iris, Metaphysics as a Guide to Morals (Harmondsworth: Penguin, 1991).Google Scholar

Nehamas, Alexander, Only a Promise of Happiness: The Place of Beauty in a World of Art (Princeton: Princeton University Press, 2007).Google Scholar

Nehamas, Alexander, “Return of the Beautiful: Morality, Pleasure, and the Value of Uncertainty,” Journal of Aesthetics and Art Criticism 58, 4 (fall 2000), pp. 392–403.CrossRefGoogle Scholar

Neill, Alex, “‘An Unaccountable Pleasure’: Hume on Tragedy and the Passions,” Hume Studies 24, 2 (November 1998), pp. 335–54.Google Scholar

Neill, Alex, “Art and Emotion,” in The Oxford Handbook of Aesthetics, ed. Levinson, pp. 421–35.

Neill, Alex, “Fear, Fiction, and Make-Believe,” Journal of Aesthetics and Art Criticism 49, 1 (winter 1991), pp. 47–56.CrossRefGoogle Scholar

Neill, Alex, “Hume’s ‘Singular Phenomenon,’” British Journal of Aesthetics 39, 2 (April 1999), pp. 112–25.CrossRefGoogle Scholar

Neill, Alex, and Ridley, Aaron (eds.), The Philosophy of Art: Readings Ancient and Modern (New York: McGraw-Hill, 1995).Google Scholar

Newcomb, Anthony, “Action and Agency in Mahler’s Ninth Symphony, Second Movement,” in Music and Meaning, ed. J. Robinson, pp. 131–53.

Newell, Michael, What is a Picture? Depiction, Realism, Abstraction (London: Palgrave Macmillan, 2011.CrossRefGoogle Scholar

Ngai, Sianne, Our Aesthetic Categories: Zany, Cute, and Interesting (Cambridge, MA: Harvard University Press, 2012).Google Scholar

Nietzsche, Friedrich, The Birth of Tragedy and the Case of Wagner, trans. Kaufmann, Walter (New York: Random House, 1967).Google Scholar

Nussbaum, Martha C., “Exactly and Responsibly: A Defense of Ethical Criticism,” Philosophy and Literature 22, 2 (October 1998), pp. 343–65.CrossRefGoogle Scholar

Nussbaum, Martha C., The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy (Cambridge: Cambridge University Press, 1986).Google Scholar

Nussbaum, Martha C., “Literature and Ethical Theory: Allies or Adversaries?,” Yale Journal of Ethics 9 (2000), pp. 5–16.Google Scholar

Nussbaum, Martha C., Love’s Knowledge: Essays on Philosophy and Literature (Oxford: Oxford University Press, 1990).Google Scholar

Osborne, Peter, Anywhere or Not at All: Philosophy of Contemporary Art (London: Verso, 2013).Google Scholar

Paddison, Max, Adorno’s Aesthetics of Music (Cambridge: Cambridge University Press, 1993).CrossRefGoogle Scholar

Palmer, Frank, Literature and Moral Understanding (Oxford: Clarendon Press, 1992).CrossRefGoogle Scholar

Pavel, Thomas G., Fictional Worlds (Cambridge, MA: Harvard University Press, 1986).Google Scholar

Philipson, M., and Gudel, P. J. (eds.), Aesthetics Today, revised edn (New York: New American Library, 1980).Google Scholar

Pillow, Kirk, “Imagination,” in The Oxford Handbook of Philosophy and Literature, ed. Eldridge, pp. 349–68.

Pillow, Kirk, Sublime Understanding (Cambridge, MA: MIT Press, 2001).Google Scholar

Pippin, Robert B., Henry James and Modern Moral Life (Cambridge: Cambridge University Press, 2000).Google Scholar

Plato, , Ion, trans. Cooper, Lane, in Plato, The Collected Dialogues, ed. Hamilton, Edith and Cairns, Huntingdon (Princeton, NJ: Princeton University Press, 1961), pp. 215–28.Google Scholar

Plato, , Republic, trans. G. M. A. Grube, revised C. D. C. Reeve (Indianapolis, IN: Hackett, 1992).

Plato, , Symposium, trans. Alexander Nehamas and Paul Woodruff (Indianapolis, IN: Hackett, 1989).

Posner, Richard, “Against Ethical Criticism,” Philosophy and Literature 21, 1 (April 1997), pp. 1–27.CrossRefGoogle Scholar

Putnam, Hilary, “Literature, Science, and Reflection,” in Putnam, H., Meaning and the Moral Sciences (London: Routledge & Kegan Paul, 1978), pp. 83–96.Google Scholar

Radford, Colin, “How can We be Moved by the Fate of Anna Karenina?,” Proceedings of the Aristotelian Society, supplementary vol. 49 (1975), pp. 67–80.CrossRefGoogle Scholar

Robinson, Jenefer, Deeper than Reason: Emotion and its Role in Literature, Music, and Art (Oxford: Clarendon Press, 2005).CrossRefGoogle Scholar

Robinson, Jenefer, “Expression Theories,” in The Routledge Companion to Philosophy and Music, ed. Gracyk and Kania, pp. 201–11.

Robinson, Jenefer (ed.), Music and Meaning (Ithaca, NY: Cornell University Press, 1997).Google Scholar

Robinson, Lillian S., “Treason our Text: Feminist Challenges to the Literary Canon,” Tulsa Studies in Women’s Literature (1983); reprinted in Critical Theory Since 1965, ed. Adams and Searle, pp. 572–82.

Rorty, Richard, “The Contingency of Selfhood,” in Rorty, R., Contingency, Irony, and Solidarity (Cambridge: Cambridge University Press, 1989), pp. 23–43.CrossRefGoogle Scholar

Rutter, Benjamin, Hegel on the Modern Arts (Cambridge: Cambridge University Press, 2010).CrossRefGoogle Scholar

Savile, Anthony, The Test of Time: An Essay in Philosophical Aesthetics (Oxford: Clarendon Press, 1982).Google Scholar

Schapiro, Meyer, “On the Aesthetic Attitude in Romanesque Art,” in Schapiro, M., Romanesque Art: Selected Papers (New York: G. Braziller, 1977), pp. 1–28.Google Scholar

Schier, Flint, Deeper into Pictures: An Essay on Pictorial Representation (Cambridge: Cambridge University Press, 1986).CrossRefGoogle Scholar

Schiller, Friedrich, Essays, ed. Hinderer, Walter and Dahlstrom, Daniel O. (New York: Continuum, 1993).Google Scholar

Schiller, Friedrich, “On Naïve and Sentimental Poetry,” trans. Daniel O. Dahlstrom, in Schiller, Essays, pp. 179–260.

Schiller, Friedrich, On the Aesthetic Education of Man, in a Series of Letters, trans. Snell, Reginald (London: Routledge & Kegan Paul, 1954).Google Scholar

Schlegel, Friedrich, Philosophical Fragments, trans. Firchow, Peter (Minneapolis, MN: University of Minnesota Press, 1991).Google Scholar

Saussure, Fernand de, Course in General Linguistics, trans. Baskin, Wade (New York: McGraw Hill, 1959).Google Scholar

Scruton, Roger, The Aesthetics of Music (Oxford: Oxford University Press, 1997).Google Scholar

Scruton, Roger, Art and Imagination (London: Routledge & Kegan Paul, 1982).Google Scholar

Scruton, Roger, Beauty (Oxford: Oxford University Press, 2009).CrossRefGoogle Scholar

Sedivy, Sonia, “Review of Picture, Image and Experience by Robert Hopkins,” Philosophical Review 110, 3 (July 2001), pp. 472–75.CrossRefGoogle Scholar

Seel, Martin, Aesthetics of Appearing, trans. Farrell, John (Stanford: Stanford University Press, 2005).Google Scholar

Sheppard, Anne, Aesthetics: An Introduction to the Philosophy of Art (Oxford: Oxford University Press, 1987).Google Scholar

Shusterman, Richard, “Art as Dramatization,” Journal of Aesthetics and Art Criticism 59, 4 (fall 2001), pp. 363–72.CrossRefGoogle Scholar

Shusterman, Richard, Practicing Philosophy: Pragmatism and the Philosophical Life (London: Routledge, 1997).Google Scholar

Shusterman, Richard, Pragmatist Aesthetics: Living Beauty, Rethinking Art (Oxford: Basil Blackwell, 1992).Google Scholar

Sircello, Guy, “Arguing About Art,” in Aesthetics Today, ed. Philipson and Gudel, pp. 477–96.

Sircello, Guy, Mind and Art: An Essay on the Varieties of Expression (Princeton, NJ: Princeton University Press, 1972).Google Scholar

Smith, Barbara Herrnstein, Contingencies of Value: Alternative Perspectives for Critical Theory (Cambridge, MA: Harvard University Press, 1988).Google Scholar

Spackman, John, “Expressiveness, Ineffability, and Nonconceptuality,” Journal of Aesthetics and Art Criticism 70, 3 (summer 2012), pp. 303–14.CrossRefGoogle Scholar

Stecker, Robert, “Intepretation,” in The Routledge Companion to Aesthetics, ed. Lopes, and Gaut, (London: Routledge, 2001), pp. 239–51.Google Scholar

Steiner, George, Real Presences (Chicago, IL: University of Chicago Press, 1989).Google Scholar

Stolnitz, Jerome, “Of the Origins of ‘Aesthetic Disinterestedness,’” in Aesthetics: A Critical Anthology, ed. Dickie and Sclafani, pp. 606–25.

Subotnik, Rose Rosengard, “How Could Chopin’s A-Major Prelude be Deconstructed?,” in Subotnik, R. R., Deconstructive Variations: Music and Reason in Western Society (Minneapolis, MN: University of Minnesota Press, 1996), pp. 39–147.Google Scholar

Tolstoy, Leo, What is Art?, trans. Maude, Aylmer (Indianapolis, IN: Bobbs-Merrill, 1960).Google Scholar

Tomasello, Michael, The Cultural Origins of Human Cognition (Cambridge, MA: Harvard University Press, 1999).Google Scholar

Tormey, Alan, “Art and Expression: A Critique,” in Philosophy Looks at the Arts, ed. Margolis, pp. 346–61.

Trivedi, Saam, “Music and Imagination,” in The Routledge Companion to Philosophy and Music, ed. Gracyk and Kania, pp. 113–22.

Walton, Kendall, “Categories of Art,” Philosophical Review 79 (1970), pp. 334–67; reprinted in Philosophy Looks at the Arts, ed. Margolis, pp. 88–114.CrossRefGoogle Scholar

Walton, Kendall, Mimesis as Make-Believe: On the Foundations of the Representational Arts (Cambridge, MA: Harvard University Press, 1990).Google Scholar

Weintraub, Linda, Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970s–1990s (Litchfield, CT: Art Insights, 1996).Google Scholar

Weitz, Morris, “The Role of Theory in Aesthetics,” Journal of Aesthetics and Art Criticism 15 (1956); reprinted in Philosophy of Art, ed. Neill and Ridley, pp. 183–92.CrossRefGoogle Scholar

Wieand, Jeffrey, “Can there be an Institutional Theory of Art?,” Journal of Aesthetics and Art Criticism 39, 4 (summer 1981), pp. 409–17.CrossRefGoogle Scholar

Wilde, Oscar, “Preface,” in The Picture of Dorian Gray, ed. Ackroyd, Peter (Harmondsworth: Penguin, 1982).Google Scholar

Wittgenstein, Ludwig, The Brown Book, in Wittgenstein, Ludwig, The Blue and Brown Books (New York: Harper & Row, 1958).Google Scholar

Wittgenstein, Ludwig, Philosophical Investigations, 3rd edn, trans. Anscombe, G. E. M. (New York: Macmillan, 1958).Google Scholar

Wolfe, Tom, The Painted Word (New York: Farrar, Straus, & Giroux, 1975).Google Scholar

Wollheim, Richard, Art and its Objects, 2nd edn (Cambridge: Cambridge University Press, 1980).CrossRefGoogle Scholar

Wollheim, Richard, Painting as an Art (Princeton, NJ: Princeton University Press, 1987).Google Scholar

Woodmansee, Martha, The Author, Art, and the Market: Rereading the History of Aesthetics (New York: Columbia University Press, 1994).Google Scholar

Woodruff, Paul, “Aristotle on Mimesis,” in Essays on Aristotle’s Poetics, ed. Rorty, A. (Princeton, NJ: Princeton University Press, 1992), pp. 73–95.Google Scholar

Wordsworth, William, “Essay Supplementary to the Preface (1815),” in Selected Poems and Prefaces, ed. Stillinger, pp. 471–81.

Wordsworth, William, “Preface to Lyrical Ballads,” in Selected Poems and Prefaces, ed. Stillinger, pp. 445–64.

Wordsworth, William, The Prelude (1850), in Selected Poems and Prefaces, ed. Stillinger, pp. 193–366.

Wordsworth, William, The Prelude 1799, 1805, 1850, ed. Wordsworth, Jonathan, Abrams, M. H., and Gill, Stephen (New York: W. W. Norton, 1979).Google Scholar

Wordsworth, William, Selected Poems and Prefaces, ed. Stillinger, Jack (Boston, MA: Houghton Mifflin, 1965).Google Scholar