Berys Gaut
Biographic Data
| ID | 997026 |
|---|---|
| NAME | Berys Gaut |
| GIVEN NAMES | Berys |
| FAMILY NAME | Gaut |
| SIGNATURE | GAUT B |
| AFFILIATIONS | University of St Andrews |
| ORCID | 0000-0003-4966-5874 |
| VERIFIED | Yes |
| TOTAL WORKS | 23 |
| TOTAL CITATIONS | 56 |
| AUTHOR COUNT | 20 |
| EDITOR COUNT | 3 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 4 |
Group Creativity
Group creativity is vital in overcoming the numerous challenges that the world faces. Yet group creativity is deeply puzzling. It seems plausible that only agents can be creative, so group creativity requires group agency. But how could groups possess the mental states required to be agents, let alone the rich range of them required to be creative? It appears more reasonable to hold that group creativity is not a real phenomenon, but is merely th…
Creativity and Philosophy
Replies to Ponech, Curran, and Allen
Journal Article Replies to Ponech, Curran, and Allen Get access Berys Gaut Berys Gaut Berys Gaut University of St Andrews [email protected] Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 52, Issue 2, April 2012, Pages 201–208, https://doi.org/10.1093/aesthj/ays006 Published: 01 April 2012
A Philosophy of Cinematic Art--The Big Picture
Journal Article A Philosophy of Cinematic Art—The Big Picture Get access Berys Gaut Berys Gaut Berys Gaut University of St Andrews [email protected] Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 52, Issue 2, April 2012, Pages 183–186, https://doi.org/10.1093/aesthj/ays005 Published: 01 April 2012
Creativity and Art
A Philosophy of Cinematic Art
A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with …
Nehamas on Beauty and Love
Journal Article Nehamas on Beauty and Love Get access Berys Gaut Berys Gaut University of St Andrews Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 50, Issue 2, April 2010, Pages 199–204, https://doi.org/10.1093/aesthj/ayq003 Published: 01 April 2010
The Philosophy of Creativity
This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the cr…
Art and Knowledge
The question of whether art gives us knowledge is as old as the philosophy of art itself: Plato in The Republic argued that, although poetry purports to give knowledge, it in fact does no such thing, but produces a mere deceptive appearance of knowledge. In contrast, Aristotle in The Poetics argued for the capacity of poetry to give its audience knowledge of universals. The dispute has reverberated down to the modern period, and a large part of t…
Art, Emotion and Ethics
Can a good work of art be evil? 'Art, Ethics, and Emotion' explores this issue, arguing that artworks are always aesthetically flawed insofar as they have a moral defect that is aesthetically relevant. This book will be of interest to anyone who wants to understand the relation of art to morality.
New Directions in Aesthetics, Creativity and the Arts
Journal Article New Directions in Aesthetics, Creativity and the Arts Get access New Directions in Aesthetics, Creativity and the Arts. Edited by PAUL LOCHER, COLIN MARTINDALE and LEONID DORFMAN. Baywood. 2006. pp. x + 278. £45.00 (hbk). Berys Gaut Berys Gaut University of St Andrews Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 47, Issue 1, January 2007, Pages 99–100, https://d…
The Routledge Companion to Aesthetics
History of aesthetics. Plato / Christopher Janaway -- Aristotle / Nickolas Pappas -- Medieval aesthetics / Joseph Margolis -- Empiricism: Hutcheson and Hume / James Shelley -- Kant / Donald W. Crawford -- Hegel / Michael Inwood -- Idealism: Schopenhauer, Schiller and Schelling / Dale Jacquette -- Nietzsche / Ruben Berrios and Aaron Ridley -- Formalism / Noel Carroll -- Pragmatism: Dewey / Richard Shusterman -- Expressivism: Croce and Collingwood …
Routledge Companion to Aesthetics
The Cluster Account of Art Defended
This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in '"Art" as a Cluster Concept', that 'art' is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz
A Philosophy of Cinematic Art
A Philosophy of cinematic art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with …
The Derivation without the Gap
At the core of Kant's Groundwork of the Metaphysics of Morals lies his ‘derivation’ of the categorical imperative: his attempt to establish that, if there is a supreme principle of morality, then it is this imperative. Kant's argument for this claim is one of the most puzzling in his corpus. The received view, championed by Aune and Allison, is that there is a fundamental gap in the argument, which Kant elides by means of a simple but deadly conf…
Rag-bags, Disputes and Moral Pluralism
Moral pluralism of the kind associated with W. D. Ross is the doctrine that there is a plurality of moral principles, which in their application to particular cases can conflict, and that there is no further principle to determine which of these principles takes priority in cases of conflict. Two objections are commonly advanced against this kind of pluralism: that it proposes a rag-bag of moral principles lacking a unifying basis; and that it of…
Image and Mind
Ethics and practical reason
Conference on ethics and practical reason
Truth, Fiction, and Literature
Introduction: setting the scene. Part 1 Fiction and truth: the practice of storytelling truth-value and pretence content and characters reference and about aspects, points of view and objectivity relating internal/external and subjective/objective. Part 2 The limits of fictionality: metaphysics and fictions truth-making and world-making narrative and imagination. Part 3 Literature and truth: literary practice literature and fiction the theory of …
The Enjoyment Theory of Horror
Journal Article THE ENJOYMENT THEORY OF HORROR: A RESPONSE TO CARROLL Get access Berys Gaut Berys Gaut Department of Moral Philosophy, University of St AndrewsSt Andrews, Fife KY16 9AL, Scotland Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 35, Issue 3, July 1995, Pages 284–289, https://doi.org/10.1093/bjaesthetics/35.3.284 Published: 01 July 1995
The Paradox of Horror
Journal Article THE PARADOX OF HORROR Get access Berys Gaut Berys Gaut Department of Moral Philosophy, University of St AndrewsSt Andrews, Fife KY16 9AL, Scotland Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 33, Issue 4, October 1993, Pages 333–345, https://doi.org/10.1093/bjaesthetics/33.4.333 Published: 01 October 1993
The Philosophy of Creativity
This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the cr…
Creativity and Art
The Cluster Account of Art Defended
This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in '"Art" as a Cluster Concept', that 'art' is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz
The Paradox of Horror
Journal Article THE PARADOX OF HORROR Get access Berys Gaut Berys Gaut Department of Moral Philosophy, University of St AndrewsSt Andrews, Fife KY16 9AL, Scotland Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 33, Issue 4, October 1993, Pages 333–345, https://doi.org/10.1093/bjaesthetics/33.4.333 Published: 01 October 1993
New Directions in Aesthetics, Creativity and the Arts
Journal Article New Directions in Aesthetics, Creativity and the Arts Get access New Directions in Aesthetics, Creativity and the Arts. Edited by PAUL LOCHER, COLIN MARTINDALE and LEONID DORFMAN. Baywood. 2006. pp. x + 278. £45.00 (hbk). Berys Gaut Berys Gaut University of St Andrews Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 47, Issue 1, January 2007, Pages 99–100, https://d…
Nehamas on Beauty and Love
Journal Article Nehamas on Beauty and Love Get access Berys Gaut Berys Gaut University of St Andrews Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 50, Issue 2, April 2010, Pages 199–204, https://doi.org/10.1093/aesthj/ayq003 Published: 01 April 2010
The Enjoyment Theory of Horror
Journal Article THE ENJOYMENT THEORY OF HORROR: A RESPONSE TO CARROLL Get access Berys Gaut Berys Gaut Department of Moral Philosophy, University of St AndrewsSt Andrews, Fife KY16 9AL, Scotland Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 35, Issue 3, July 1995, Pages 284–289, https://doi.org/10.1093/bjaesthetics/35.3.284 Published: 01 July 1995
The Paradox of Horror
Journal Article THE PARADOX OF HORROR Get access Berys Gaut Berys Gaut Department of Moral Philosophy, University of St AndrewsSt Andrews, Fife KY16 9AL, Scotland Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 33, Issue 4, October 1993, Pages 333–345, https://doi.org/10.1093/bjaesthetics/33.4.333 Published: 01 October 1993
The Enjoyment Theory of Horror
Journal Article THE ENJOYMENT THEORY OF HORROR: A RESPONSE TO CARROLL Get access Berys Gaut Berys Gaut Department of Moral Philosophy, University of St AndrewsSt Andrews, Fife KY16 9AL, Scotland Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 35, Issue 3, July 1995, Pages 284–289, https://doi.org/10.1093/bjaesthetics/35.3.284 Published: 01 July 1995
Conference on ethics and practical reason
Truth, Fiction, and Literature
Introduction: setting the scene. Part 1 Fiction and truth: the practice of storytelling truth-value and pretence content and characters reference and about aspects, points of view and objectivity relating internal/external and subjective/objective. Part 2 The limits of fictionality: metaphysics and fictions truth-making and world-making narrative and imagination. Part 3 Literature and truth: literary practice literature and fiction the theory of …
Ethics and practical reason
Image and Mind
The Derivation without the Gap
At the core of Kant's Groundwork of the Metaphysics of Morals lies his ‘derivation’ of the categorical imperative: his attempt to establish that, if there is a supreme principle of morality, then it is this imperative. Kant's argument for this claim is one of the most puzzling in his corpus. The received view, championed by Aune and Allison, is that there is a fundamental gap in the argument, which Kant elides by means of a simple but deadly conf…
Rag-bags, Disputes and Moral Pluralism
Moral pluralism of the kind associated with W. D. Ross is the doctrine that there is a plurality of moral principles, which in their application to particular cases can conflict, and that there is no further principle to determine which of these principles takes priority in cases of conflict. Two objections are commonly advanced against this kind of pluralism: that it proposes a rag-bag of moral principles lacking a unifying basis; and that it of…
A Philosophy of Cinematic Art
A Philosophy of cinematic art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with …
The Routledge Companion to Aesthetics
History of aesthetics. Plato / Christopher Janaway -- Aristotle / Nickolas Pappas -- Medieval aesthetics / Joseph Margolis -- Empiricism: Hutcheson and Hume / James Shelley -- Kant / Donald W. Crawford -- Hegel / Michael Inwood -- Idealism: Schopenhauer, Schiller and Schelling / Dale Jacquette -- Nietzsche / Ruben Berrios and Aaron Ridley -- Formalism / Noel Carroll -- Pragmatism: Dewey / Richard Shusterman -- Expressivism: Croce and Collingwood …
Routledge Companion to Aesthetics
The Cluster Account of Art Defended
This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in '"Art" as a Cluster Concept', that 'art' is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz
Art, Emotion and Ethics
Can a good work of art be evil? 'Art, Ethics, and Emotion' explores this issue, arguing that artworks are always aesthetically flawed insofar as they have a moral defect that is aesthetically relevant. This book will be of interest to anyone who wants to understand the relation of art to morality.
New Directions in Aesthetics, Creativity and the Arts
Journal Article New Directions in Aesthetics, Creativity and the Arts Get access New Directions in Aesthetics, Creativity and the Arts. Edited by PAUL LOCHER, COLIN MARTINDALE and LEONID DORFMAN. Baywood. 2006. pp. x + 278. £45.00 (hbk). Berys Gaut Berys Gaut University of St Andrews Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 47, Issue 1, January 2007, Pages 99–100, https://d…
Art and Knowledge
The question of whether art gives us knowledge is as old as the philosophy of art itself: Plato in The Republic argued that, although poetry purports to give knowledge, it in fact does no such thing, but produces a mere deceptive appearance of knowledge. In contrast, Aristotle in The Poetics argued for the capacity of poetry to give its audience knowledge of universals. The dispute has reverberated down to the modern period, and a large part of t…
A Philosophy of Cinematic Art
A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with …
Nehamas on Beauty and Love
Journal Article Nehamas on Beauty and Love Get access Berys Gaut Berys Gaut University of St Andrews Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 50, Issue 2, April 2010, Pages 199–204, https://doi.org/10.1093/aesthj/ayq003 Published: 01 April 2010
The Philosophy of Creativity
This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the cr…
Replies to Ponech, Curran, and Allen
Journal Article Replies to Ponech, Curran, and Allen Get access Berys Gaut Berys Gaut Berys Gaut University of St Andrews [email protected] Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 52, Issue 2, April 2012, Pages 201–208, https://doi.org/10.1093/aesthj/ays006 Published: 01 April 2012
A Philosophy of Cinematic Art--The Big Picture
Journal Article A Philosophy of Cinematic Art—The Big Picture Get access Berys Gaut Berys Gaut Berys Gaut University of St Andrews [email protected] Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 52, Issue 2, April 2012, Pages 183–186, https://doi.org/10.1093/aesthj/ays005 Published: 01 April 2012
Creativity and Art
Creativity and Philosophy
Group Creativity
Group creativity is vital in overcoming the numerous challenges that the world faces. Yet group creativity is deeply puzzling. It seems plausible that only agents can be creative, so group creativity requires group agency. But how could groups possess the mental states required to be agents, let alone the rich range of them required to be creative? It appears more reasonable to hold that group creativity is not a real phenomenon, but is merely th…
Philosophy (13 works) · Art (12 works) · Epistemology (11 works) · Sociology (9 works) · Psychology (8 works) · Art history (7 works) · Ethics, Aesthetics, and Art (7 works) · Aesthetics (6 works) · Aesthetics (6 works) · Aesthetic Perception and Analysis (5 works)