Philosophy at St Andrews

Berys Gaut

Professor of Philosophy Director of Impact

Berys Gaut

Phone: (01334) 462490

Office: Edgecliffe 211

Email: bng@st-andrews.ac.uk

Aesthetics, Philosophy of Film, Creativity, Ethics

Profile

His research interests include: aesthetics, especially its relation to ethics; philosophy of film and film theory; the philosophy of creativity; and moral theory.

He is a past President of the British Society of Aesthetics and an Editorial Consultant to The British Journal of Aesthetics. He has held several research awards, including most recently a two-year Leverhulme Major Research Fellowship.

He the author of two monographs, Art, Emotion and Ethics (Oxford University Press, 2007) and A Philosophy of Cinematic Art (Cambridge University Press, 2010). He is currently working on a new monograph, Exploring Creativity: A Philosophical Inquiry.

See also the PURE research profile.

Academic qualifications

B.A. Oxford University; M.A. and PhD Princeton University.

Selected publications

Monographs

  • Art, Emotion and Ethics, Oxford University Press, 2007.
  • A Philosophy of Cinematic Art, Cambridge University Press, 2010.

Philosophy for Children books

  • Philosophy for Young Children: A Practical Guide, Routledge, 2011. Co-authored with Morag Gaut.
  • Philosophy for Older Children: A Practical Guide, Routledge, forthcoming 2019. Co-authored with Morag Gaut.

Edited books 

  • Ethics and Practical Reason, co-edited with Garrett Cullity, Oxford University Press,1997.
  • The Routledge Companion to Aesthetics, co-edited with Dominic McIver Lopes, Routledge, 2001. Second edition, 2005. Third edition, 2013.
  • The Creation of Art: New Essays in Philosophical Aesthetics, co-edited with Paisley Livingston, Cambridge University Press, 2003.
  • Creativity and Philosophy, co-edited with Matthew Kieran, Routledge, 2018.

Articles 

  • "Interpreting the Arts: the Patchwork Theory", The Journal of Aesthetics and Art Criticism, 51 (4), 1993, pp. 597-609.
  • "The Paradox of Horror", The British Journal of Aesthetics, 33 (4), 1993, pp. 333-345. Reprinted in: Alex Neill and Aaron Ridley (eds.), Arguing about Art, 2nd. ed., Routledge, 2003.
  • Moral Pluralism", Philosophical Papers, 22 (1), 1993, pp. 17-40.
  • "On Cinema and Perversion", Film and Philosophy, 1, 1994, pp. 3-17.
  • "Rawls and the Claims of Liberal Legitimacy", Philosophical Papers, 24 (1), 1995, pp. 1-22.
  • "The Enjoyment Theory of Horror: A Response to Carroll", The British Journal of Aesthetics, 35 (3), 1995, pp. 284-9.
  • "Making Sense of Films: Neoformalism and its Limits", Forum for Modern Language Studies, 31 (1), 1995, pp. 8-23.
  • "Ethics and Practical Reason: A Conference Report", Journal of Value Inquiry, 30, 1996, pp. 573-7, co-authored with Garrett Cullity.
  • "Metaphor and the Understanding of Art", Proceedings of the Aristotelian Society, 1996-7, pp. 223-4.
  • "Analytic Philosophy of Film: History, Issues, Prospects", Philosophical Books, 38 (3) (July 1997), pp. 145-56.
  • "Film Authorship and Collaboration", in Richard Allen and Murray Smith (eds.), Film Theory and Philosophy, Oxford University Press, 1997, pp. 149-72.
  • "The Structure of Practical Reason" in Garrett Cullity and Berys Gaut (eds.), Ethics and Practical Reason, Oxford University Press, 1997, pp. 161-88.
  • "Introduction", co-authored with Garrett Cullity, Ethics and Practical Reason, eds. Garrett Cullity and Berys Gaut, Oxford University Press, 1997, pp. 1-27.
  • "The Ethical Criticism of Art", Aesthetics and Ethics: Essays at the Intersection, ed. Jerrold Levinson, Cambridge University Press, 1998, pp. 182-203. Reprinted in: Peter Lamarque and Stein Haugom Olsen (eds.), Aesthetics and the Philosophy of Art: The Analytic Tradition, Blackwell, 2004; and Eileen John and Dominic McIver Lopes (eds.), The Philosophy of Literature: Classic and Contemporary Readings, Blackwell, 2003.
  • "Just Joking: The Ethics and Aesthetics of Humour", Philosophy and Literature, 22, 1998, pp. 51-68.
  • "Imagination, Interpretation and Film", Philosophical Studies, 89, 1998, pp. 331-41.
  • "Identification and Emotion in Narrative Film", in Carl Plantinga and Greg M. Smith (eds.), Passionate Views: Thinking about Film and Emotion, Baltimore: Johns Hopkins University Press, 1999, pp. 200-16.
  • "The Derivation without the Gap: Rethinking Groundwork I", co-authored with Samuel Kerstein, Kantian Review, 3, 1999, pp. 18-40.
  • "Rag Bags, Disputes and Moral Pluralism", Utilitas, 11, 1999, pp. 37-48.
  • "'Art' as a Cluster Concept", in Theories of Art, Noël Carroll (ed.), University of Wisconsin Press, 2000, pp. 25-44.
  • "Art and Ethics", in Berys Gaut and Dominic McIver Lopes (eds.), The Routledge Companion to Aesthetics, Routledge, 2001, pp. 341-352; and second edition, pp. 431-444.
  • "Justifying Moral Pluralism" in Philip Stratton-Lake (ed.), Ethical Intuitionism: Re-evaluations, Oxford University Press, 2002, pp. 137-160.
  • "Cinematic Art", Journal of Aesthetics and Art Criticism, 60, 2002, pp. 299-312.
  • "Art and Knowledge" in Jerrold Levinson (ed.), Oxford Handbook of Aesthetics, Oxford University Press, 2003, pp. 436-450.
  • "Film" in Jerrold Levinson (ed.), Oxford Handbook of Aesthetics, Oxford University Press, 2003, pp. 627-643.
  • "The Creation of Art: Issues and Perspectives", co-authored with Paisley Livingston, in Berys Gaut and Paisley Livingston (eds.), The Creation of Art: New Essays in Philosophical Aesthetics, Cambridge University Press, 2003, pp. 1-32.
  • "Creativity and Imagination" in Berys Gaut and Paisley Livingston (eds.), The Creation of Art: New Essays in Philosophical Aesthetics, Cambridge University Press, 2003, pp. 148-73.
  • "Reasons, Emotions and Fictions" in Matthew Kieran and Dominic McIver Lopes (eds.), Imagination, Philosophy and the Arts, Routledge, 2003, pp. 15-34.
  • "Naked Film: Dogma and its Limits" in Mette Hjort and Scott MacKenzie (eds.), Purity and Provocation: Dogma 95, British Film Institute, 2003, pp. 89-101.
  • "Philosophy of the Movies: Cinematic Narration" in Peter Kivy (ed.), Blackwell Guide to Aesthetics, Blackwell, 2004, pp. 230-53.
  • "Active Aestheticians", American Society for Aesthetics Newsletter, 24, Summer 2004, pp. 1-2.
  • "The Cluster Account of Art Defended", British Journal of Aesthetics, 45, 2005, pp. 273-88.
  • "Film and Language", Media Education Journal, 38, 2005-6, pp. 19-20.
  • "Art and Cognition" in Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art, Blackwell, 2006, pp. 115-26.
  • "Opaque Pictures", Revue Internationale de Philosophie, 62, 2008, pp. 381-96.
  • "Creativity and Skill" in Michael Krausz, Denis Dutton and Karen Bardsley (eds.), The Idea of Creativity, Brill, 2009, pp. 83-103.
  • "Digital Cinema" in Paisley Livingston and Carl Plantinga (eds.), The Routledge Companion to Philosophy and Film, Routledge, 2009, pp. 75-85.
  • "Creativity" in Stephen Davies, Kathleen Higgins, Robert Hopkins, Robert Stecker and David Cooper (eds), A Companion to Aesthetics, 2nd ed., Wiley-Blackwell, 2009, pp. 207-10.
  • "Morality and Art" in Stephen Davies, Kathleen Higgins, Robert Hopkins, Robert Stecker and David Cooper (eds), A Companion to Aesthetics, 2nd ed., Wiley-Blackwell, 2009, pp. 428-31.
  • "Computer Art", American Society for Aesthetics Newsletter, 29(3), 2009, pp. 1-4; and American Philosophical Association Newsletters: Philosophy and Computers, 9(2), 2010, pp. 32-5.
  • "Nehamas on Beauty and Love", British Journal of Aesthetics, 50(2), 2010, pp. 199-204.
  • "Empathy and Identification in Cinema", Midwest Studies in Philosophy 34, 2010, pp. 136-57.
  • "The Philosophy of Creativity", Philosophy Compass 5 (12), 2010, pp. 1034-46.
  • "Film and Language" in Patrick Hogan (ed.), The Cambridge Encyclopedia of the Language Sciences, Cambridge University Press, 2010, pp. 310-11.
  • "Telling Stories: Narration, Emotion, and Insight in Memento" in Noel Carroll and John Gibson (eds), Narrative, Emotion, and Insight, Penn State University Press, 2011, pp. 23-44.
  • "A Philosophy of Cinematic Art--The Big Picture" and "Replies to Ponech, Curran, and Allen", British Journal of Aesthetics, 52 (2), 2012, pp. 183-6 and 201-8.
  • "Creativity and Rationality", Journal of Aesthetics and Art Criticism, 70 (3) 2012, pp. 259-70.
  • "Teaching Philosophy to Young Children" in Sara Goering, Nicholas J. Shudak and Thomas E. Wartenberg (eds.), Philosophy in Schools: An Introduction for Philosophers and Teachers, Routledge, 2013, pp. 132-40; co-authored with Morag Gaut.
  • "Mixed Motivations: Creativity as a Virtue", Philosophical Aesthetics and the Sciences of Art: Royal Institute of Philosophy Supplement, 75, 2014, pp. 183-202.
  • "Educating for Creativity" in Elliot Samuel Paul and Scott Barry Kaufman (eds.), The Philosophy of Creativity: New Essays, Oxford University Press, 2014, pp. 265-87.
  • "Creativity", "The Intentional Fallacy", "Fiction and Non-fiction", "Depiction" and "Consequentialism", entries in Robert Audi (ed)., The Cambridge Dictionary of Philosophy, 3rd ed., Cambridge University Press, 2015.
  • "Elegy in L.A.: Blade Runner, Empathy and Death" in Amy Coplan and David Davies (eds.), Blade Runner, Routledge, 2015, pp. 31-45.
  • "Cinematic Art and Technology" in Katherine Thomson-Jones (ed.), Current Controversies in the Philosophy of Film, Routledge, 2016, pp. 17-35.
  • "The Value of Creativity" in Berys Gaut and Matthew Kieran (eds.), Creativity and Philosophy, Routledge, 2018.
  • "Philosophising about Creativity", co-authored with Matthew Kieran, in Berys Gaut and Matthew Kieran (eds.), Creativity and Philosophy, Routledge, 2018.

Book Reviews and Interview

  • Review of Mimesis as Make-Believe, by Kendall Walton, Journal of Value Inquiry, 26, 1992, pp. 297-300.
  • Review of Film and Phenomenology, by Allan Casebier, Film Quarterly, 47, 1993, pp. 47-9.
  • Review of Truth, Fiction and Literature, by Peter Lamarque and Stein Olsen, The Philosophical Review, 105, 1996, pp. 84-6.
  • Review of Philosophy and Film, eds. Cynthia A. Freeland and Thomas E. Wartenberg, Philosophical Books, 38, 1997, pp. 69-71.
  • Review of Engaging Characters, by Murray Smith, The British Journal of Aesthetics, 37, 1997, pp. 96-7.
  • Review of Theorizing the Moving Image, by Noël Carroll, Journal of Aesthetics and Art Criticism, 1998, pp. 86-8.
  • Review of Image and Mind, by Gregory Currie, The Philosophical Review, 107, 1998, pp. 138-40.
  • Review of Merit, Aesthetic and Ethical, by Marcia Muelder Eaton, Journal of Aesthetics and Art Criticism, 60, 2002, pp. 280-282.
  • Review of New Directions in Aesthetics, Creativity and the Arts, eds. Paul Locher, Colin Martindale, Leonid Dorfman, British Journal of Aesthetics, 47, 2007, pp. 99-100.
  • Review of Creativity and Art: Three Roads to Surprise, by Margaret Boden, British Journal of Aesthetics, 52 (1), 2012, pp. 116-9.
  • "Creativity, Ethics and Education: An Interview with Berys Gaut", by Christopher Woerner, Postgraduate Journal of Aesthetics, 10(1), 2013, pp. 2-17.

Research students

I am currently supervising Clotilde Torregrossa, James Ursell and Ashley Watkins.


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