{"product_id":"philosophy-of-literature-philosophy-of-film-and-motion-pictures-2-book-set-isbn-9780470435496","title":"Philosophy of Literature \u0026 Philosophy of Film and Motion Pictures, 2 Book Set","description":"\u003cp\u003e\u003cb\u003ePack includes 2 titles from the popular \u003ci\u003eBlackwell Philosophy Anthologies Series\u003c\/i\u003e:\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003e\u003cb\u003ePhilosophy of Literature\u003c\/b\u003e: Contemporary and Classic Readings - An Anthology\u003cbr\u003e\u003c\/i\u003eEdited by Eileen John and Dominic McIver Lopes\u003cbr\u003eISBN: 9781405112086\u003c\/p\u003e \u003cp\u003eEssential readings in the philosophy of literature are brought together for the first time in this anthology.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eContains forty-five substantial and carefully chosen essays and extracts\u003c\/li\u003e \u003cli\u003eProvides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary value, and the definition and ontology of literature\u003c\/li\u003e \u003cli\u003eIncludes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume\u003c\/li\u003e \u003cli\u003eServes as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003cb\u003ePhilosophy of Film and Motion Pictures\u003c\/b\u003e: An Anthology\u003cbr\u003e\u003c\/i\u003eEdited by Noël Carroll and Jinhee Choi\u003cbr\u003eISBN: 9781405120272\u003c\/p\u003e \u003cp\u003eDesigned for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eThe featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory\u003c\/li\u003e \u003cli\u003eEight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality\u003c\/li\u003e \u003cli\u003eIssues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography\u003c\/li\u003e \u003cli\u003eReplete with examples and discussion of moving pictures throughout\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003cb\u003ePhilosophy of Literature\u003c\/b\u003e: Contemporary and Classic Readings - An Anthology\u003cbr\u003e\u003c\/i\u003eEdited by Eileen John and Dominic McIver Lopes\u003cbr\u003eISBN: 9781405112086\u003c\/p\u003e \u003cp\u003eAcknowledgments.\u003c\/p\u003e \u003cp\u003ePreface.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Classic Sources.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1. Republic: Plato.\u003c\/p\u003e \u003cp\u003e2. Poetics: Aristotle.\u003c\/p\u003e \u003cp\u003e3. Of Tragedy: David Hume.\u003c\/p\u003e \u003cp\u003e4. The Birth of Tragedy: Friedrich Nietzsche.\u003c\/p\u003e \u003cp\u003e5. Creative Writers and Day-Dreaming: Sigmund Freud.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: Definition of Literature.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e6. Spazio: Arrigo Lora-Totino.\u003c\/p\u003e \u003cp\u003e7. What Isn't Literature?: E. D. Hirsch, Jr.\u003c\/p\u003e \u003cp\u003e8. The Concept of Literature: Monroe Beardsley.\u003c\/p\u003e \u003cp\u003e9. Literary Practice: Peter Lamarque and Stein Haugom Olsen.\u003c\/p\u003e \u003cp\u003e10. What Is Literature?: Robert Stecker.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Ontology of Literature.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e11. Pierre Menard, Author of the \u003ci\u003eQuixote:\u003c\/i\u003e Jorge Luis Borges.\u003c\/p\u003e \u003cp\u003e12. Literary Works as Types: Richard Wollheim.\u003c\/p\u003e \u003cp\u003e13. Literature: J. O. Urmson.\u003c\/p\u003e \u003cp\u003e14. Can the Work Survive the World?: Nelson Goodman and Catherine Elgin.\u003c\/p\u003e \u003cp\u003e15. Work and Text: Gregory Currie.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: Fiction.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e16. Doonesbury: Garry Trudeau.\u003c\/p\u003e \u003cp\u003e17. The Logical Status of Fictional Discourse: John Searle.\u003c\/p\u003e \u003cp\u003e18. Truth in Fiction: David Lewis.\u003c\/p\u003e \u003cp\u003e19. What Is Fiction?: Gregory Currie.\u003c\/p\u003e \u003cp\u003e20. Fiction and Nonfiction: Kendall Walton.\u003c\/p\u003e \u003cp\u003e21. Fictional Characters as Abstract Artifacts: Amie Thomasson.\u003c\/p\u003e \u003cp\u003e22. Logic and Criticism: Peter Lamarque.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: Emotion.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e23. Applicant: Harold Pinter.\u003c\/p\u003e \u003cp\u003e24. How Can We Be Moved by the Fate of Anna Karenina?: Colin Radford.\u003c\/p\u003e \u003cp\u003e25. Fearing Fictionally: Kendall Walton.\u003c\/p\u003e \u003cp\u003e26. The Pleasures of Tragedy: Susan Feagin.\u003c\/p\u003e \u003cp\u003e27. Tragedy and the Community of Sentiment: Flint Schier.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI: Metaphor.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e28. Essay on What I Think about Most: Anne Carson.\u003c\/p\u003e \u003cp\u003e29. Metaphor: Max Black.\u003c\/p\u003e \u003cp\u003e30. What Metaphors Mean: Donald Davidson.\u003c\/p\u003e \u003cp\u003e31. Metaphor and Feeling: Ted Cohen.\u003c\/p\u003e \u003cp\u003e32. Metaphor and Prop Oriented Make-Believe: Kendall Walton.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VII: Interpretation.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e33. Who Is Responsible in Ethical Criticism, And for What?: Wayne C. Booth.\u003c\/p\u003e \u003cp\u003e34. Criticism as Retrieval: Richard Wollheim.\u003c\/p\u003e \u003cp\u003e35. The Postulated Author: Critical Monism as a Regulative Ideal: Alexander Nehamas.\u003c\/p\u003e \u003cp\u003e36. Art Interpretation: Robert Stecker.\u003c\/p\u003e \u003cp\u003e37. Art, Intention, and Conversation: Noël Carroll.\u003c\/p\u003e \u003cp\u003e38. Intention and Interpretation: Jerrold Levinson.\u003c\/p\u003e \u003cp\u003e39. Style and Personality in the Literary Work: Jenefer Robinson.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VIII: Literary Values.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e40. Xingu: Edith Wharton.\u003c\/p\u003e \u003cp\u003e41. On the Cognitive Triviality of Art: Jerome Stolnitz.\u003c\/p\u003e \u003cp\u003e42. Literature and Knowledge: Catherine Wilson.\u003c\/p\u003e \u003cp\u003e43. Finely Aware and Richly Responsible: Martha Nussbaum.\u003c\/p\u003e \u003cp\u003e44. Literature, Truth, and Philosophy: Peter Lamarque and Stein Haugom Olsen.\u003c\/p\u003e \u003cp\u003e45. The Ethical Criticism of Art: Berys Gaut.\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e \u003cp\u003e\u003ci\u003e\u003cb\u003ePhilosophy of Film and Motion Pictures\u003c\/b\u003e: An Anthology\u003cbr\u003e\u003c\/i\u003eEdited by Noël Carroll and Jinhee Choi\u003cbr\u003eISBN: 9781405120272\u003c\/p\u003e \u003cp\u003eAcknowledgments.\u003c\/p\u003e \u003cp\u003eGeneral Introduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Film as Art.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1 Roger Scruton.\u003c\/p\u003e \u003cp\u003ePhotography and Representation.\u003c\/p\u003e \u003cp\u003e2 Dominic McIver Lopes.\u003c\/p\u003e \u003cp\u003eThe Aesthetics of Photographic Transparency.\u003c\/p\u003e \u003cp\u003e3 Terrence Rafferty.\u003c\/p\u003e \u003cp\u003eEverybody Gets a Cut: DVDs Give Viewers Dozens of Choices -- and That's the Problem.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: What Is Film?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e4 Stanley Cavell.\u003c\/p\u003e \u003cp\u003eFrom \u003ci\u003eThe World Viewed.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5 Susanne K. Langer.\u003c\/p\u003e \u003cp\u003eA Note on the Film.\u003c\/p\u003e \u003cp\u003e6 F. E. Sparshott.\u003c\/p\u003e \u003cp\u003eVision and Dream in the Cinema.\u003c\/p\u003e \u003cp\u003e7 Gregory Currie.\u003c\/p\u003e \u003cp\u003eThe Long Goodbye: The ImaginaryLanguage of Film.\u003c\/p\u003e \u003cp\u003e8 Arthur C. Danto.\u003c\/p\u003e \u003cp\u003eMoving Pictures.\u003c\/p\u003e \u003cp\u003e9 Noël Carroll.\u003c\/p\u003e \u003cp\u003eDefining the Moving Image.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Documentary.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e10 Gregory Currie.\u003c\/p\u003e \u003cp\u003eVisible Traces: Documentary and the Contents of Photographs.\u003c\/p\u003e \u003cp\u003e11 Noël Carroll.\u003c\/p\u003e \u003cp\u003eFiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: Film Narrative\/Narration.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e12 George Wilson.\u003c\/p\u003e \u003cp\u003e\u003ci\u003eLe Grand Imagier\u003c\/i\u003e Steps Out: The Primitive Basis of Film Narration.\u003c\/p\u003e \u003cp\u003e13 Gregory Currie.\u003c\/p\u003e \u003cp\u003eUnreliability Refigured: Narrative in Literature and Film.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: Film and Emotion.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e14 Noël Carroll.\u003c\/p\u003e \u003cp\u003eFilm, Emotion, and Genre.\u003c\/p\u003e \u003cp\u003e15 Kendall Walton.\u003c\/p\u003e \u003cp\u003eFearing Fictions.\u003c\/p\u003e \u003cp\u003e16 Alex Neill.\u003c\/p\u003e \u003cp\u003eEmpathy and (Film) Fiction.\u003c\/p\u003e \u003cp\u003e17 Berys Gaut.\u003c\/p\u003e \u003cp\u003eIdentification and Emotion in Narrative Film.\u003c\/p\u003e \u003cp\u003e18 Deborah Knight.\u003c\/p\u003e \u003cp\u003eIn Fictional Shoes: Mental Simulation and Fiction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI: Topics in Film Criticism.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e19 George M. Wilson.\u003c\/p\u003e \u003cp\u003eMorals for Method.\u003c\/p\u003e \u003cp\u003e20 Paisley Livingston.\u003c\/p\u003e \u003cp\u003eCinematic Authorship.\u003c\/p\u003e \u003cp\u003e21 Jinhee Choi.\u003c\/p\u003e \u003cp\u003eNational Cinema, the Very Idea.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VII: Film and Ethics.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e22 Joseph H. Kupfer.\u003c\/p\u003e \u003cp\u003eFilm Criticism and Virtue Theory.\u003c\/p\u003e \u003cp\u003e23 Mary Devereaux.\u003c\/p\u003e \u003cp\u003eBeauty and Evil: The Case of Leni Riefenstahl's \u003ci\u003eTriumph of the Will.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e24 Melinda Vadas.\u003c\/p\u003e \u003cp\u003eA First Look at the Pornography: Civil Rights Ordinance: Could Pornography Be the Subordination of Women?\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VIII: Film and Knowledge.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e25 Bruce Russell.\u003c\/p\u003e \u003cp\u003eThe Philosophical Limits of Film.\u003c\/p\u003e \u003cp\u003e26 Karen Hanson.\u003c\/p\u003e \u003cp\u003eMinerva in the Movies: Relations Between Philosophy and Film.\u003c\/p\u003e \u003cp\u003e27 Lester H. Hunt.\u003c\/p\u003e \u003cp\u003eMotion Pictures as a Philosophical Resource.\u003c\/p\u003e \u003cp\u003eSelect Bibliography by Jinhee Choi.\u003c\/p\u003e \u003cp\u003eIndex.\u003c\/p\u003e  \u003ci\u003eThe Philosophy of Literature:\u003c\/i\u003e  \u003cp\u003e\u003cb\u003eEileen John\u003c\/b\u003e is Associate Professor of Philosophy at the University of Louisville, specializing in aesthetics and philosophy of literature. Her essays have appeared in the \u003ci\u003eJournal of Aesthetics and Art Criticism\u003c\/i\u003e, \u003ci\u003ePhilosophy and Literature\u003c\/i\u003e, and \u003ci\u003eThe Henry James Review\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eDominic McIver Lopes\u003c\/b\u003e is Associate Professor of Philosophy at the University of British Columbia. He is the author of \u003ci\u003eUnderstanding Pictures\u003c\/i\u003e (1996) and co-editor of the \u003ci\u003eRoutledge Companion to Aesthetics\u003c\/i\u003e (2000) and \u003ci\u003eImagination, Philosophy, and the Arts\u003c\/i\u003e (2003). He is also co-editor, with Berys Gaut, of the Blackwell series \u003ci\u003eNew Directions in Aesthetics\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003e\u003ci\u003ePhilosophy of Film and Motion Pictures\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eNoël Carroll\u003c\/b\u003e is the Mellon Professor of the Humanities at Temple University and the author of \u003ci\u003eBeyond Aesthetics\u003c\/i\u003e (2001), \u003ci\u003eA Philosophy of Mass Art\u003c\/i\u003e (1999), and \u003ci\u003eInterpreting the Moving Image\u003c\/i\u003e (1998).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eJinhee Choi\u003c\/b\u003e is Assistant Professor of Film Studies at Carleton University. Her work has appeared in the \u003ci\u003eJournal of Aesthetics and Art Criticism\u003c\/i\u003e and \u003ci\u003eThe British Journal of Aesthetics.\u003c\/i\u003e\u003c\/p\u003e  Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series:\u003cbr\u003e \u003cbr\u003e   \u003cp\u003e\u003ci\u003e\u003cb\u003ePhilosophy of Literature\u003c\/b\u003e: Contemporary and Classic Readings\u003cbr\u003e \u003c\/i\u003eEdited by Eileen John and Dominic McIver Lopes\u003cbr\u003e \u003ca href=\"http:\/\/eu.wiley.com\/WileyCDA\/WileyTitle\/productCd-1405112085.html\"\u003eISBN: 9781405112086\u003c\/a\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003e\u003cb\u003ePhilosophy of Film and Motion Pictures\u003c\/b\u003e: An Anthology\u003cbr\u003e \u003c\/i\u003eEdited by Noël Carroll and Jinhee Choi\u003cbr\u003e \u003ca href=\"http:\/\/eu.wiley.com\/WileyCDA\/WileyTitle\/productCd-1405120274.html\"\u003eISBN: 9781405120272\u003c\/a\u003e\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989780381925,"sku":"NP9780470435496","price":87.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780470435496.jpg?v=1761785441","url":"https:\/\/k12savings.com\/es\/products\/philosophy-of-literature-philosophy-of-film-and-motion-pictures-2-book-set-isbn-9780470435496","provider":"K12savings","version":"1.0","type":"link"}