Works by James Young
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- Radically Rethinking Copyright in the Arts: A Philosophical Approach.James O. Young -2020 - Routledge.The problems and the keys to their solutions -- Ontology of artworks -- Copyright and its limits -- Token appropriation -- Pattern appropriation -- Appropriation of artistic elements.No categories
- 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 (...) successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series. (shrink)
- The coherence theory of truth.James O. Young -2008 -Stanford Encyclopedia of Philosophy.
- Kant's Musical Antiformalism.James O. Young -2020 -Journal of Aesthetics and Art Criticism 78 (2):171-182.
- The Counter-Monument: Memory against Itself in Germany Today.James E. Young -1992 -Critical Inquiry 18 (2):267-296.One of the contemporary results of Germany’s memorial conundrum is the rise of its “counter-monuments”: brazen, painfully self-conscious memorial spaces conceived to challenge the very premises of their being. On the former site of Hamburg’s greatest synagogue, at Bornplatz, Margrit Kahl has assembled an intricate mosaic tracing the complex lines of the synagogue’s roof construction: a palimpsest for a building and community that no longer exist. Norbert Radermacher bathes a guilty landscape in Berlin’s Neukölln neighborhood with the inscribed light of (...) its past. Alfred Hrdlicka began a monument in Hamburg to counter—and thereby neutralize—an indestructible Nazi monument nearby. In a suburb of Hamburg, Jochen Gerz and Esther Shalev-Gerz have erected a black pillar against fascism and for peace designed to disappear altogether over time. The very heart of Berlin, former site of the gestapo headquarters, remains a great, gaping wound as politicians, artists, and various committees forever debate the most appropriate memorial for this site.4 4. The long-burning debate surrounding projected memorials, to the Gestapo-Gelände in particular, continues to exemplify both the German memorial conundrum and the state’s painstaking attempts to articulate it. For an excellent documentation of the process, see Topographie des Terrors: Gestapo, SS und Reichssicherheitshauptamt auf dem “Prinz-Albrecht-Gelände,” ed. Reinhard Rürup . For a shorter account, see James E. Young, “The Topography of German Memory,” The Journal of Art 1 : 30. James E. Young is assistant professor of English and Judaic studies at the University of Massachusetts, Amherst. He is the author of Writing and Rewriting the Holocaust: Narrative and the Consequences of Interpretation and The Texture of Memory: Holocaust Memorials and Meaning in Europe, Israel, and America , from which this essay is drawn. He is also the curator of “The Art of Memory,” an exhibition at the Jewish Museum of New York. (shrink)
- (1 other version)Profound offense and cultural appropriation.James O. Young -2005 -Journal of Aesthetics and Art Criticism 63 (2):135–146.
- The Ethics of Cultural Appropriation.James O. Young &Conrad G. Brunk (eds.) -2009 - Wiley-Blackwell._The Ethics of Cultural Appropriation_ undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation. Explores cultural appropriation in a wide variety of contexts, among them the arts and archaeology, museums, and religion Questions whether cultural appropriation is always morally objectionable Includes research that is equally informed by empirical knowledge and general normative theory Provides a coherent and authoritative perspective gained by the collaboration of philosophers and specialists in the field (...) who all participated in this unique research project. (shrink)
- Catharine Trotter Cockburn on Moral Knowledge.James O. Young -2023 -Journal of the History of Women Philosophers and Scientists 2 (1–2):46–67.In the wake of Locke’s Essay, empiricists faced the challenge of giving an empiricist account of the origins of moral knowledge. Locke did not rise to this challenge and relied on revelation as the source of moral knowledge. Other empiricists, including Hume and Hutcheson, opted for either emotivism or subjectivism. Clarke and others opted for rationalism and non-naturalism. In contrast, Catharine Cockburn’s meta-ethics combined Locke’s empiricism with naturalism. She held that moral good is natural good and that natural good is (...) known just as any other matters of natural fact are known: empirically. Cockburn’s position was unusual for its time, and the full originality and appeal of her meta-ethical position have not been fully appreciated. (shrink)
- The Ancient and Modern System of the Arts.James O. Young -2015 -British Journal of Aesthetics 55 (1):1-17.Paul Oskar Kristeller famously argued that the modern ‘ system of the arts ’ did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts : poetry, painting, music, sculpture, and dance. Writers (...) from the sixteenth century on adopted the ancient conception of the imitative arts and anticipated the views of Batteux by 200 years. Batteux simply popularized the rubric ‘fine arts ’. (shrink)
- The Myth of the Aesthetic.James O. Young -forthcoming -Erkenntnis.Philosophers have failed to give a satisfactory analysis of the concept of the aesthetic. The attempt to analyze the concept faces two difficulties. The first is that aesthetic objects cannot be identified without knowing which experiences are aesthetic experiences and aesthetic experiences cannot be identified without knowing which objects are aesthetic objects. The second problem is that an incredibly broad range of experiences and objects are described as aesthetic. There is no principled way to choose between the various accounts of (...) the aesthetic and philosophers end up offering persuasive definitions of the aesthetic. These definitions classify as aesthetic objects and experiences ones which philosophers believe are deserving of attention. These objects and experiences are, however, valuable in a wide variety of ways and calling them all aesthetic obscures differences between them. Finer-grained concepts than the concept of the aesthetic are needed to explain how various kinds of objects and experiences are valuable. (shrink)
- 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, (...) not because they cohere with a system of beliefs, but because of facts about what a community believes. I argue that coherentists can admit that there are facts about what systems of beliefs communities accept, without being committed to the claim that these facts are the truth conditions of sentences about what communities accept. (shrink)
- 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 (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)
- Kant on Form or Design.James O. Young -2021 -Journal of Aesthetics and Art Criticism 79 (1):112-115.
- Art and Knowledge.James O. Young -2005 -Journal of Aesthetics and Art Criticism 63 (2):198-200.
- The metaphysics of jazz.James O. Young &Carl Matheson -2000 -Journal of Aesthetics and Art Criticism 58 (2):125-133.
- Do Subaltern Artifacts Belong in Art Museums?Ivan Gaskell,A. W. Eaton,James O. Young &Conrad Brunk -2009 - In James O. Young & Conrad G. Brunk,The Ethics of Cultural Appropriation. Wiley-Blackwell. pp. 235–267.This chapter contains sections titled: 1 2 3 4 5 6.
- 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.
- The concept of authentic performance.James O. Young -1988 -British Journal of Aesthetics 28 (3):228-238.
- Literary Fiction and the Cultivation of Virtue.James O. Young -2019 -Croatian Journal of Philosophy 19 (2):315-330.Many philosophers have claimed that reading literary fiction makes people more virtuous. This essay begins by defending the view that this claim is empirical. It goes on to review the empirical literature and finds that this literature supports the claim philosophers have made. Three mechanisms are identified whereby reading literary fiction makes people more virtuous: empathy is increased when readers enter imaginatively into the lives of fictional characters; reading literary fiction promotes self-reflection; and readers mimic the prosocial behaviour of fictional (...) characters. The paper concludes with a caution: there is a danger that readers could mimic antisocial behaviour displayed in literary fiction. If they do, reading some literary fiction could make readers less virtuous. (shrink)No categories
- What is Cultural Appropriation?James O. Young -2008 - InCultural Appropriation and the Arts. Wiley-Blackwell. pp. 1–31.This chapter contains section titled: Art, Culture, and Appropriation Types of Cultural Appropriation What is a Culture? Objections to Cultural Appropriation In Praise of Cultural Appropriation.No categories
- Authenticities: Philosophical Reflections on Musical Performance.James O. Young -1995 -Journal of Aesthetics and Art Criticism 54 (2):198-200.
- 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.
- 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 (...) of cultural property. I argue against the claims that cultures inherit cultural property. I also argue that a culture's claim to own cultural property is seldom, if ever, founded on either practices employed in the culture or collective production of cultural property. I maintain, however, that the very value of cultural property for some culture can, in some instances, provide the basis for the culture's claim on the property. (shrink)
- Philosophical Perspectives on Music.James O. Young -1999 -Journal of Aesthetics and Art Criticism 57 (1):75-76.
- Should white men play the blues?James O. Young -1994 -Journal of Value Inquiry 28 (3):415-424.
- 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 (...) alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others. (shrink)
- 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.
- New Objections to Cultural Appropriation in the Arts.James O. Young -2021 -British Journal of Aesthetics 61 (3):307-316.Some writers have objected to cultural appropriation in the arts on the grounds that it violates cultures’ property rights. Recently a paper by Erich Matthes and another by C. Thi Nguyen and Matthew Strohl have argued that cultural appropriation does not violate property rights but that it is nevertheless often objectionable. Matthes argues that cultural appropriation contributes to the oppression of disadvantaged cultures. Nguyen and Strohl argue that it violated the intimacy of cultures. This paper argues that neither Matthes nor (...) Nguyen and Strohl succeed in showing that cultural appropriation is often objectionable. (shrink)No categories
- Global anti-realism.James O. Young -1987 -Philosophy and Phenomenological Research 47 (4):641-647.
- On Carolyn Korsmeyer, Things: in touch with the past Oxford, Oxford University Press, 2019, pp. 224.Carolyn Korsmeyer,Massimo Renzo,Zoltán Somhegyi,Larry E. Shiner &James O. Young -2021 -Studi di Estetica 19.No categories
- 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, (...) this essay argues that Lopes is wrong in supposing that theories of arts were developed to deal with the ‘hard cases’ – developments such as Duchamp’s readymades and conceptual art. This is a problem since Lopes holds that the buck passing theory’s capacity to deal with the hard cases is one of its virtues. Second, this essay argues that the buck passing theory has no account of which activities are arts and no account of what makes some activity an art. (shrink)
- ‘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,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.
- 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 (...) great divide music was often the exclusive object of aesthetic experience. (shrink)
- Authenticity in performance.James O. Young -2000 - In Berys Nigel Gaut & Dominic Lopes,The Routledge Companion to Aesthetics. New York: Routledge.
- Destroying works of art.James O. Young -1989 -Journal of Aesthetics and Art Criticism 47 (4):367-373.
- 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’ (...) every true sentence can be shown to correspond to the same facts as every other true sentence. The claim is that all substitution of logically equivalent sentences and coreferring terms takes place salva veritate. I argue that the substitution of coreferring terms in this context need not preserve truth. The slingshot fails to refute the correspondence theory. (shrink)
- Between rock and a Harp place.James O. Young -1995 -Journal of Aesthetics and Art Criticism 53 (1):78-81.
- 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 (...) warranted by coherence with a system of beliefs. Next they drew upon their verification theory of meaning, a consequence of which is that truth cannot transcend what can be warranted. The coherence theory of knowledge and verificationism together entail that truth cannot transcend what can be warranted by coherence with a system of beliefs. The Vienna Circle's argument for coherentism is strong and anticipates contemporary anti-realism. (shrink)
- 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.
- 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 (...) theories of truth as truisms or analytic truths, T-sentences are often understood as entailing commitment to the central proposal of the correspondence theory. (shrink)
- 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 (...) a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences. (shrink)
- Reason, Truth and History. [REVIEW]James Young -unknown -Eidos: The Canadian Graduate Journal of Philosophy 2.No categories
- 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.
- Kant’s (Moderate) Musical Antiformalism: A Reply to Sousa.James O. Young -2023 -Journal of Aesthetics and Art Criticism 81 (3):383-386.I thank Tiago Sousa for his thoughtful comments on Young (2020, 2021). I am grateful for the opportunity to revisit Kant’s thoughts on music, which I think I un.
- Philosophy of Music: A History.James O. Young -2022 -British Journal of Aesthetics 63 (1):136-138.A good, single volume history of the philosophy of music would be nice to have, but I do not think that the book under review here is it. (Full disclosure: I am.
- Cultural Appropriation as Theft.James O. Young -2008 - InCultural Appropriation and the Arts. Wiley-Blackwell. pp. 63–105.This chapter contains section titled: Harm by Theft Possible Owners of Artworks Cultures and Inheritance Lost and Abandoned Property Cultural Property and Traditional Law Collective Knowledge and Collective Property Ownership of Land and Ownership of Art Property and Value to a Culture Cultures and Intellectual Property Some Conclusions About Ownership and Appropriation The Rescue Argument.No categories
- Art and the Educated Audience.James O. Young -2010 -Journal of Aesthetic Education 44 (3):29.In lieu of an abstract, here is a brief excerpt of the content:Art and the Educated AudienceJames O. Young (bio)1. IntroductionWhen 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 on the role of the informed or, as I will call it, educated audience. I begin by subjecting the concept of an audience to some old-fashioned conceptual analysis. Once we are clearer about what an audience is and, in particular, what an educated audience is, we can begin to determine what it can do. In my view, an educated audience can play an important role in encouraging the production of artworks with high aesthetic value. Indeed, highly valuable artworks are unlikely to be produced without a broad educated audience to whom artists are responsive. Consequently, the aesthetic education of audiences is crucial to the health of an art world.2. What Is an Audience?In its original sense, the noun "audience" refers to the people within earshot of some speaker: one held forth to an audience. In connection with the arts, "audience" was first used in something very like this original sense. It referred to those who heard actors perform plays or those who heard the recitation of poetry. Soon the concept of an audience also applied to those who heard the performance of musical works. By the mid-nineteenth century, the concept of an audience had been broadened. It came to apply to the readers of a novel or other works of literature. More recently, the concept of an audience has been applied to those who view paintings, sculptures, and films. [End Page 29] Now an audience consists of people who experience artworks of any sort. Having an experience of an artwork is a necessary condition of being part of an audience. This condition is, however, far from being sufficient.Some people experience works of art but are not part of an audience. Consider, for example, ushers in a concert hall or theater and guards in art museums. An usher hears the play or the concerto but may not regard it as an aesthetic object. Similarly, a guard sees the paintings (and so in this sense experiences them) but does not, perhaps, attend to them as aesthetic objects. Or consider a person who arranges to meet a friend in a gallery. He almost certainly sees the paintings, but he will not count as part of an audience if he is completely intent on looking for his friend. It seems, then, that members of an audience do not simply experience artworks. They must experience artworks in a certain way.Audience members experience an artwork in such a way that they are able to benefit from its aesthetic value. When I speak of "aesthetic value," I mean the value an artwork possesses in virtue of its sensuous properties. I will not here take a stand on the nature of experience of aesthetic value. Some writers have suggested that the contemplation of art involves a distinctive sort of experience. Perhaps it does. (It has been suggested, for example, that audience members must have a measure of "psychical distance" from some object if they are to have an aesthetic experience of it.) I simply hold that audience members experience an artwork in whatever way makes it possible for them to benefit from its aesthetic value. If aesthetic value causes pleasure (or "aesthetic emotion," understanding, or anything else) then audience members can have pleasure caused in them by an artwork's aesthetic value. The capacity to benefit from the aesthetic value of an artwork is a necessary condition of being part of the work's audience.Notice that not just anyone can be part of the audience for a given work of art. Audience members must possess certain capacities. In the most basic sense of the word, an audience is composed... (shrink)
- Charles Batteux: The Fine Arts Reduced to a Single Principle.James O. Young (ed.) -2015 - New York, NY: Oxford University Press.The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the 18th century. James O. Young presents the first complete English translation of the work, with full annotations and a comprehensive introduction, which illuminate Batteux's continuing philosophical interest.
- 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 how (...) music can affect dispositions to behave and moral judgement. None of this evidence provides much support for the ethos theory. The paper then proposes a programme of research that has the potential to confirm the ethos theory. (shrink)No categories
- Cultural Appropriation as Assault.James O. Young -2008 - InCultural Appropriation and the Arts. Wiley-Blackwell. pp. 106–128.This chapter contains section titled: Other Forms of Harm Cultural Appropriation and Harmful Misrepresentation Harm and Accurate Representation Cultural Appropriation and Economic Opportunity Cultural Appropriation and Assimilation Art, Insignia, and Cultural Identity Cultural Appropriation and Privacy.No categories
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David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Area Editors:
David Bourget
Gwen Bradford
Berit Brogaard
Margaret Cameron
David Chalmers
James Chase
Rafael De Clercq
Ezio Di Nucci
Esa Diaz-Leon
Barry Hallen
Hans Halvorson
Jonathan Ichikawa
Monte Johnson
Michelle Kosch
Øystein Linnebo
Paul Livingston
Brandon Look
Manolo Martínez
Matthew McGrath
Michiru Nagatsu
Susana Nuccetelli
Giuseppe Primiero
Jack Alan Reynolds
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