David Davies
Professor
On leave 2018-19.
David Davies has taught at 苹果淫院 since 1987. He has a PhD in Philosophy from the University of Western Ontario (1987), following a BA in Politics, Philosophy and Economics (Wadham College, Oxford, 1970) and an MA in Philosophy (Manitoba 1979). His doctoral research and much of his research for the following few years was on the Realism/Anti-Realism debate in contemporary metaphysics, and on related issues in the Philosophy of Mind and Philosophy of Language. For the past 20 years his research has focused mainly on metaphysical and epistemological issues in the Philosophy of Art, where he has also published widely on topics relating to literature, film, photography, music, dance, performance, and the visual arts. He has been a director, since 1998, of the annual Philosophy of Science conference held at the Inter-University Centre in Dubrovnik, Croatia, and is a founding director of the Philosophy of Art conference held in the same location starting in 2012.
Please see link to Research CV for full details.
Books and Monographs
Philosophy of The Performing Arts聽(Oxford: Blackwell, 2011).
Aesthetics and Literature聽(London: Continuum, 2007).
Art as Performance聽(Oxford: Blackwell, 2004) [Chinese translation by Fong Jun (Nanjing: Jiangsu Meishu Chubanshe (Jiangsu Fine Arts Publishing House), 2008].
Edited books
Blade Runner, edited collection of papers in the series 鈥楶hilosophers on Film鈥, co-edited with Amy Coplan (London: Routledge, 2015).
The Thin Red Line, edited collection of papers in the series 鈥楶hilosophers on Film鈥 (London: Routledge, 2008).
Articles Published, Forthcoming, or In Progress
鈥楧ance seen and dance screened鈥, for inclusion in volume 43 of Midwest Studies in Philosophy. (In progress)
鈥淲hat is the mode of being of the artwork?鈥, for inclusion in Noel Carroll, ed., Controversies in Contemporary Aesthetics (London: Routledge). (In progress)
鈥楢rtistic crimes and misdemeanours鈥, for submission for consideration for a special edition of British Journal of Aesthetics on 鈥楧eception and Authenticity in Art鈥. (In progress)
鈥楴ominalist strategies for dealing with multiple artworks鈥, for inclusion in a projected collection of papers relating to the work of Jody Azzouni, ed. Joshua Brown and Otavio Bueno.聽(In progress)
鈥楢nalytic philosophy of performance鈥, co-written with Anna Pakes, for inclusion in Laura Cull and Alice Lagaay, eds., Routledge Companion to Performance Philosophy. (In progress)
鈥楶hilosophical dimensions of film experience鈥, in Steven Goveia et al, eds. Philosophy and Film: Bridging Divides (Routledge).聽(In progress)
Piece on the 50th anniversary of Walton鈥檚 鈥楥ategories of art鈥, to appear in a 2020 symposium in Journal of Aesthetics and Art Criticism. (In progress)
鈥楶hilosophy of art鈥, forthcoming in Anna Abrahams, ed, Cambridge Handbook of the Imagination.
鈥榃here in the (art)world is Martin Creed?鈥 forthcoming in a volume on Martin Creed edited by Elisabeth Schellekens and Davide Dal Sasson in the Bloomsbury series on philosophical aesthetics and contemporary art edited by Tiziana Andrina and David Carrier.
鈥淎nimation鈥, forthcoming in Noel Carroll, Laura Teresa Di Summa-Knoop, and Shawn Loht, eds., The Palgrave Handbook for the Philosophy of Film and Motion Pictures (Palgrave-McMillan, 2018), c. 10,000 words.
鈥淓volution and Anthropology of Art鈥, forthcoming in Lydia Goehr, Jonathan Gilmore, and Jonathan Fine, eds., Blackwell Companion to Arthur Danto.
鈥淎nalytic philosophy of music鈥, forthcoming in Tomas Macauley, Jerrold Levinson, and Nanette Nielsen, eds., Oxford Handbook of Western Music and Philosophy (Oxford: OUP, 2018).
鈥楳isreading Emma鈥, in E. M. Dadlez, ed., Jane Austen鈥檚 Emma: Philosophical Perspectives, in the series Oxford Studies in Philosophy and Literature (Oxford: Oxford University Press, 2018), 184-215.
鈥淓vidence of facture and the appreciative relevance of artistic activity鈥, in Alberto Voltolini and Jerome Pelletier, eds., The Pleasure of Pictures (London: Routledge, 2018), 286-302.
鈥淎rt and thought-experiments鈥, in Michael T. Stuart, Yiftach Fehige, and James Robert Brown, eds., The Routledge Companion to Thought Experiments (London: Routledge, 2018), 512-25.
鈥楾he semantics of Sibleyan aesthetic judgments鈥, in James Young, ed., Semantics of Aesthetic Judgments (Oxford: OUP, 2017), 106-20.
鈥楧escriptivism and its discontents鈥, Journal of Aesthetics and Art Criticism 75.2 (2017), 117-29.
鈥楢pplied aesthetics鈥, in Kasper Rasmussen, Kimberley Brownlee, and David Coady, (eds), Blackwell Companion to Applied Philosophy (Oxford: Wiley-Blackwell, 2016), 487-500.
鈥楾he function of generalisation in art history: understanding art across traditions鈥, in Theoretical Studies in Literature and Art 36.1 (Spring 2016), 8-19.
鈥楩ictional truth and truth in fiction鈥, in Noel Carroll and John Gibson, eds., Routledge Companion to Philosophy of Literature (2015), 372-81.
鈥楽ibley and the limits of everyday aesthetics鈥, Journal of Aesthetic Education 49.2 (2015), 50-65.
鈥楩ictive utterance and the fictionality of narratives and works鈥, British Journal of Aesthetics 55.1 (2015), 39-55.
鈥Blade Runner and the cognitive values of cinema鈥, in Amy Coplan and David Davies, eds., Blade Runner (London: Routledge, 2015), in the series 鈥楶hilosophers on Film鈥, 134-54.
鈥榁arying impressions鈥, Journal of Aesthetics and Art Criticism 73.1 (2015), 81-92.
鈥樷淭his is your brain on art鈥: what can philosophy of art learn from neuroscience?鈥, in Gregory Currie, Matthew Kieran, Aaron Meskin, and Jon Robson, eds., Aesthetics and the Sciences of Mind (Oxford: Oxford University Press, 2014), 57-74.
鈥榃atching the unwatchable: 滨谤谤茅惫别谤蝉颈产濒别, Empire, and the paradox of intentionally inaccessible art鈥, in Jerrold Levinson, ed., Suffering art gladly: the paradox of negative emotions (London: Macmillan Palgrave, 2013), 246-66.
鈥楥ategories of art鈥, in Routledge Companion to Aesthetics 3rd ed. (London: Routledge, 2013), 224-34.
鈥楧ancing around the issues: prospects for an empirically grounded philosophy of dance鈥, Journal of Aesthetics and Art Criticism 71.2 (2013), 195-202.
鈥榃hat type of 鈥榯ype鈥 is a film?鈥, in Christy Mag Uidhir, ed., Art and Abstract Objects (Oxford: Oxford University Press, 2013), 263-283.
鈥楶ornography, art, and the intended response of the receiver鈥, in Hans Maes and Jerrold Levinson, eds., Aesthetics and Pornography (Oxford: Oxford University Press, 2013), 61-82.
鈥楾he dialogue between words and music in the composition and comprehension of song鈥, Journal of Aesthetics and Art Criticism 71.1 (2013), 13-22.
鈥楥an philosophical thought experiments be 鈥渟creened鈥?鈥, in Melanie Frappier, Letitia Meynell, and James Robert Brown, , eds., Thought Experiments in Philosophy, Science, and the Arts (London: Routledge, 2012), 223-38.
鈥楨nigmatic variations鈥, The Monist 95.4 (2012), 644-63.
鈥樷淚鈥檒l be your mirror鈥?: embodied agency, dance, and neuroscience鈥, in Peter Goldie and Elisabeth Schellekens, eds., The Aesthetic Mind: Philosophy and Psychology (Oxford: OUP, 2011), 346-56.
鈥楧igital technology, indexicality, and cinema鈥, Rivista di estetica 46 (2011), special edition on Ontology of Cinema, 45-60.
鈥楳edium in music鈥, in Theodore Gracyk and Andrew Kania, eds., Routledge Companion to Philosophy and Music. (London: Routledge, 2011), 48-58.
鈥楳ultiple instances and multiple 鈥渋nstances鈥濃, British Journal of Aesthetics 50.4 (2010), 411-26.
鈥楲earning through fictional narratives in art and science鈥, in Roman Frigg and Matthew Hunter, eds., Beyond Mimesis and Convention: Representation in Art and Science (Boston Studies in the Philosophy of Science 262), (Dordrecht: Springer, 2010), 51-70.
鈥楨luding Wilson鈥檚 鈥渆lusive narrators鈥濃, Philosophical Studies 147.3 (2010), 387-94.
鈥楽cruton on the inscrutability of photographs鈥, British Journal of Aesthetics 49 (2009), 341-55.
鈥楾he primacy of practice in the ontology of art鈥, Journal of Aesthetics and Art Criticism 67.2 (2009), 159-71.
鈥楧odd on the 鈥榓udibility鈥 of musical works鈥, British Journal of Aesthetics 49.2 (2009), 99-108.
鈥楾he artistic relevance of creativity鈥, in K. Bardsley, D. Dutton. M. Krausz, eds., The Concept of Creativity in Science and Art, 2nd ed. (Leiden: Brill, 2009), 213-33.
鈥極n the very idea of 鈥淥utsider Art鈥濃, British Journal of Aesthetics 49.1 (2009), 25-41.
鈥楽usan Sontag, Diane Arbus, and the ethical dimensions of photography鈥, in Garry Hagberg, ed., Art and Ethical Criticism (Oxford: Blackwell, 2008), 211-28.
鈥楥ollingwood鈥檚 鈥榩erformance鈥 theory of art鈥, British Journal of Aesthetics 48.2 (2008), 162-74.
鈥楬ow photographs 鈥渟ignify鈥 the world鈥, in Scott Walden (ed.), Photography and Philosophy (Oxford: Blackwell, 2008), 167-86.
鈥楾elling pictures: The place of narrative in late-modern visual art鈥, in Peter Goldie and Elisabeth Schellekens (eds)., Philosophy and Conceptual Art (Oxford: Oxford University Press, 2007), 138-56.
鈥楢rts and intentions: reflections on Currie鈥檚 interdisciplinary turn鈥, British Journal of Aesthetics 46.2 (2006). 192-203.
鈥楢gainst 鈥渆nlightened empiricism鈥濃, in Matthew Kieran, ed., Contemporary Debates in Aesthetics and the Philosophy of Art (Oxford: Blackwell, 2005), 22-34.
鈥楾he imaged, the imagined, and the imaginary鈥, in Matthew Kieran and Dominic Lopes, eds., Imagination, Philosophy and the Arts (London: Routledge, 2003), pp. 225-44.
鈥楳edium鈥, in Jerrold Levinson, ed., Oxford Handbook of Aesthetics (Oxford: Oxford University Press, 2003), pp. 181-91.
鈥楩iction鈥, in Berys Gaut and Dominic Lopes, eds., Routledge Companion to Aesthetics (London: Routledge, 2000), pp. 263-73.
鈥楢rtistic intentions and the ontology of art鈥, British Journal of Aesthetics 39.2 (1999), pp. 148-62.
鈥極n gauging attitudes鈥, Philosophical Studies 90 (1998), pp. 129-54.
鈥楬ow sceptical is Kripke's 鈥渟ceptical solution鈥?鈥, Philosophia (1998), pp. 119-140.