Hitchcock As Philosopher. McFarland Publishing, 2005.

Paradoxes of Emotion and Fiction. Penn State Press, 1999.

Institutions of Art. Editor. Penn State Press, 1994.

Basic Logic. West Publishing, 1988.


Hybrid Truths and Emotion in Film.” Midwest Studies in Philosophy. XXIV (2010): 180-189.

Defining the Moving Image: A Response to Noël Carroll.” Film and Philosophy (2008): 135-140. Discussions: Noël Carroll, “Monsters and the Moving Image: Replies to Laetz and Yanal,” Film and Philosophy (2009): 125-136.

Self-Deception and the Experience of Fiction.” Ratio, XX (2007): 108-121.

Hanslick’s Third Thesis.” British Journal of Aesthetics, 47 (2006): 259-266.

Two Monsters in Search of a Concept.” Contemporary Aesthetics, 1 (2003).

The End of Suspicion: Hitchcock, Descartes, and Joan Fontaine.” Film and Epistemology: Integrating Images and Ideas. Ed. Kevin L. Stoehr. Jefferson, NC: McFarland & Company, Inc., 2002.

Duchamp and Kant: Together at Last.” Angelaki, 7 (2002): 161-166.

Incorrect Judicial Decisions.” Argumentation and its Applications. Ed. Hans V. Hansen et al. Windsor, ON: OSSA, 2002.

Rebecca’s Deceivers,” Philosophy and Literature, 24 (2000): 68–74.

The Institutional Theory of Art.” The Encyclopedia of Aesthetics. Ed. Michael Kelly. 4 vols. New York: Oxford University Press, 1998.

Argument and Conviction.” Argumentation and Rhetoric. Ed. Hans. V. Hansen et al. St. Catherines, ON: OSSA, 1998.

The Paradox of Suspense.” The British Journal of Aesthetics, 36 (1996): 146–158. Discussions: Richard J. Gerrig, “Is There a Paradox of Suspense? A Reply to Yanal,” British Journal of Aesthetics, 37 (1997): 168-74. Aaron Smuts, “The Desire-Frustration Theory of Suspense,” Journal of Aesthetics and Art Criticism, 66 (2008): 281-290.

The Danto-Wollheim Meaning Theory of Art,” Ratio, IX (1996): 56–67.

Kant on Aesthetic Ideas and Beauty.” Institutions of Art: Reconsiderations of George Dickie’s Philosophy. Ed. Robert J. Yanal. University Park: Pennsylvania State University Press, 1994.

Dependent and Independent Reasons.” Informal Logic, XIII (1991): 137–144. Discussions: D. Conway. “On the Distinction between Convergent and Linked Arguments.” Informal Logic, XIII (1991), 145-158. Douglas Walton, Argument Structure: A Pragmatic Theory (Toronto: University of Toronto Press, 1996). Alexander V. Tyaglo, “How to improve the convergent argument calculation.” Informal Logic 22 (2002): 61-71. G. Goddu. “Against the ‘Ordinary Summing’ Test for Convergence,” Informal Logic 23 (2003): 215-236. M. Malone. “Three Recalcitrant Problems of Argument Identification” Informal Logic 23 (2003): 237-261. David Sherry, “Yanal et al. on Linked and Convergent.” American Philosophical Association, Chicago, 2006 (unpublished).

Hume and Others on the Paradox of Tragedy.” The Journal of Aesthetics and Art Criticism, 49 (1991): 75–76. Discussions: Alex Neill, “Yanal and Others on Hume on Tragedy,” The Journal of Aesthetics and Art Criticism, 50 (1992): 151-54. Flo Leibowitz, “The Logic of Hume’s Conversion Theory,” The Journal of Aesthetics and Art Criticism, 51 (1993): 625-26." Still Unconverted: A Reply to Neill."

Hart, Dworkin, Judges, and New Law.” The Monist, 68 (1985): 388–402.

Aristotle’s Definition of Poetry.” Noûs, XVI (1982): 499–525.

"Words and Music." The Journal of Philosophy, LXXVIII (1981): 187-202.


"Photography as Art." Wayne State University Talk. 2014.

"Brokeback Mountain as Horse Opera" Association for Psychoanalytic Thought. 2006.

"Two Gaps in Hume's Essay on Taste"

"Two Philosophers of Art (Aristotle, Bell) on Photography"

"The Trinity and Polytheism"

"Originalism and Penumbral Cases"

"The Rapture of Ayn Rand"

"Can Machines Gamble?"