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PhilosophyPart of Humanities
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(023) 8059 2908
Email:
amr3@soton.ac.uk

Professor Aaron Ridley BA York, PhD Cambridge

Professor, MA Co-ordinator, Careers Officer

Professor Aaron Ridley's photo

Professor Aaron Ridley is a Professor of Philosophy at the University of Southampton.

Before taking up his position at Southampton in 1994, Aaron Ridley taught at the University College of North Wales, Bangor and at Ithaca College, New York.

Advice and Feedback Hours

Monday 15:00-16:00
Tuesday 15:00-16:00

In room 1033 at Avenue (building 65).

Research interests

Aaron's research has been mainly in aesthetics, particularly the philosophy of music, and on Nietzsche.

Affiliate research groups

Analytic Aesthetics and the History of Aesthetics, History of Philosophy

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Articles

Books

Book Chapters

  • Ridley, A. (2014). Nietzsche and music. In D. Came (Ed.), Nietzsche on Art and Life Oxford, UK: Oxford University Press.
  • Ridley, A. (2013). Nietzsche and the arts of life. In K. Gemes, & J. Richardson (Eds.), The Oxford Handbook on Nietzsche Oxford, UK: Oxford University Press.
  • Ridley, A. (2011). Une Promesse de Bonheur? Beauty in the 'Genealogy'. In Nietzsche's 'On the Genealogy of Morality': Critical Essays (pp. 309-325). Cambridge, GB: Cambridge University Press. DOI: 10.1017/CBO9781139014977.016
  • Ridley, A. (2009). Nietzsche's intentions: what the sovereign individual promises. In K. Gemes, & S. May (Eds.), Nietzsche on Freedom and Autonomy (pp. 181-196). Oxford, UK: Oxford University Press. DOI: 10.1093/acprof:oso/9780199231560.003.0009
  • Ridley, A. (2007). Persona sometimes grata:on the appreciation of expressive music. In K. Stock (Ed.), Philosophers on Music: Experience, Meaning and Work (pp. 130-146). (Mind Association Occasional Series). Oxford, UK: Oxford University Press.
  • Ridley, A. (2005). Introduction. In A. Ridley, & J. Norman (Eds.), The Anti-Christ, Ecce Homo, Twilight of the Idols and other writings (pp. vii-xxxiv). Cambridge, GB: Cambridge University Press.
  • Ridley, A. (2003). Critical conversions. In J. L. Bermúdez, & S. Gardner (Eds.), Art and Morality (pp. 131-142). London, UK, New York, USA: Routledge.
  • Ridley, A. (2003). Expression in art. In J. Levinson (Ed.), The Oxford Handbook of Aesthetics (pp. 211-227). (Oxford Handbooks). Oxford, GB: Oxford University Press.
  • Ridley, A. (2003). Tragedy. In J. Levinson (Ed.), The Oxford Handbook of Aesthetics (pp. 408-420). (Oxford Handbooks). Oxford, GB: Oxford University Press.
  • Ridley, A. (2002). R.G. Collingwood. In C. Murray (Ed.), Key Thinkers on Art, Vol. 2 (pp. 74-79). (Routledge Key Guides). Abingdon, GB: Routledge.
  • Ridley, A. (2002). What is the meaning of aesthetic ideals? In S. Kemal, I. Gaskell, & D. Conway (Eds.), Nietzsche, Philosophy and the Arts (pp. 128-148). Cambridge, GB: Cambridge University Press.
  • Ridley, A., & Berrios, R. (2001). Nietzsche. In B. Graut, & D. Lopes (Eds.), The Routledge Companion to Aesthetics (pp. 75-86). (Routledge companions to Philosophy). London, GB: Routledge.
  • Owen, D., & Ridley, A. (2000). Dramatis personae: Nietzsche as cultural physician. In A. D. Schrift (Ed.), Why Nietzsche Still? Reflections on Drama, Culture, and Politics Berkeley, USA: University of California Press.
  • Ridley, A. (2000). Science in the service of life: Nietzsche’s objectivism. In M. W. F. Stone, & J. Wolff (Eds.), The Proper Ambition of Science (pp. 91-102). (London Studies in the History of Philosophy). London, GB: Routledge.
  • Ridley, A. (1998). Emotions and music. In M. Kelly (Ed.), The Encyclopaedia of Aesthetics (pp. 109-111). Oxford, GB: Oxford University Press.
  • Ridley, A. (1998). Richard Wagner. In M. Kelly (Ed.), The Encyclopaedia of Aesthetics (pp. 445-447). Oxford, GB: Oxford University Press.
  • Ridley, A. (1995). Profundity in music. In A. Neill, & A. Ridley (Eds.), Arguing About Art (pp. 260-272). New York, US: McGraw-Hill.

Review

Professor Aaron Ridley
Faculty of Arts and Humanities, University of Southampton, Avenue Campus, Southampton SO17 1BF, United Kingdom

Room Number: 65/1033

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