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———. (1988). “Artifact and Art,” in the exhibition cata logue for ART/artifact. New York: Center for African Art.

———. (1997). “Can It Be the ‘Most Wanted’ Even if Nobody Wants It?”Wypijewski (1997).

Darwin, Charles. (1896a). The Descent of Man, and Selection in Relation to Sex. New York: Appleton. Originally published in 1871.

———. (1896b). The Expression of the Emotions in Man and Animals. New York: Appleton. Originally published in 1872.

Davies, Stephen. (1991). Definitions of Art. Ithaca: Cornell University Press.

———. (2000). “Non-Western Art and Art’s Definition,” in Noël Carroll (2000).

———. (2004). “The Cluster Theory of Art.” British Journal of Aesthetics 44:297–300.

Davies, Stephen, and Ananta Charana Sukla, eds. (2003). Art and Essence. Westport, Connecticut: Praeger.

Dennett, Daniel C. (1995). Darwin’s Dangerous Idea: Evolution and the Meanings of Life. New York: Simon & Schuster.

Derrida, Jacques. (1983). “Signature Event Context,” in Margins of Philosophy.

Trans. Alan Bass. Chicago: University of Chicago Press.

Dickie, George. (1974). Art and the Aesthetic: An Institutional Analysis. Ithaca: Cornell University Press.

———. (1991). The Republic of Art and Other Essays. New York: Peter Lang. The essay “The Republic of Art” was first published in 1969.

Dissanayake, Ellen. (1990). What Is Art For? Seattle: University of Washington Press.

———. (1992). Homo Aestheticus: Where Art Comes From and Why. New York: Free Press; also in a new edition (2001) from University of Washington Press.

———. (1998). “Komar and Melamid Discover Pleistocene Taste.” Philosophy and Literature 22: 486–96.

———. (2000). Art and Intimacy: How the Arts Began. Seattle: University Washington Press.

Dolnick, Edward. (2008). The Forger’s Spell: A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century. New York: HarperCollins. Dutton, Denis. (1993). “Tribal Art and Artifact.” Journal of Aesthetics and Art 51:13–21.

———. (1994). “The Experience of Art Is Paradise Regained: Kant on Free and Dependent Beauty.” British Journal of Aesthetics 34:226–41.

———. (2000). “But They Don’t Have Our Concept of Art,” in Noël Carroll (2000).

———. (2001). “Aesthetic Universals,” in The Routledge Companion to Aesthetics, ed. Berys Gaut and Dominic McIver Lopes. London: Routledge.

———. (2007). “Shoot the Piano Player.” New York Times, February 26.

———, ed. (1983). The Forger’s Art: Forgery and the Philosophy of Art, Berkeley

The Forger’s Art: Forgery and the Philosophy and Los Angeles: University of California Press.

Ekman, Paul. (2003). Emotions Revealed. New York: Henry Holt.

Foucault, Michel. (1969). “What Is an Author?” in Textual Strategies: Perspectives in Post-Structuralist Criticism, ed. Josué V. Harari. Ithaca: Cornell University Press.

Roger. (1923). “Negro Sculpture,” in Vision and Design. London: Chatto Windus.

Gaut, Berys. (2000). “Art as a Cluster Concept,” in Noël Carroll (2000).

———. (2005). “The Cluster Account of Art Defended.” British Journal of Aesthetics British Journal 45:273–88.

Geertz, Clifford. (1973). The Interpretation of Cultures. New York: Basic Books.

Alfred. (1992). “The Technology of Enchantment and the Enchantment of Technology,” in Coote and Shelton (1992).

———. (1998). Art and Agency: An Anthropological Theory. New York: Oxford University Press.

Gilbert, Avery. (2008). What the Nose Knows: The Science of Scent in Everyday Life. New York: Crown Publishers.

Goldwater, Robert. (1962). The Great Bieri. New York: Museum of Primitive Art.

Goodman, Nelson. (1968). Languages of Art. Indianapolis: Hackett.

———. (1983). “Art and Authenticity,” in Dutton (1983).

Gottschall, Jonathan, and David Sloan Wilson, eds. (2005). The Literary Evolution and the Nature of Narrative. Evanston: Northwestern Press.

Gould, Stephen Jay. (1992). “Male Nipples and Clitoral Ripples,” in Bully Brontosaurus. New York: Norton.

———. (1997). “Evolution: The Pleasures of Pluralism.” New