This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related categories
Subcategories:
80 found
Search inside:
(import / add options)   Sort by:
1 — 50 / 80
Material to categorize
  1. Jay Allman (2001). Metaphor and Davidson's Theory of Interpretation. Southern Journal of Philosophy 39 (1):1-22.
  2. Alessandro Bertinetto (2006). Arte como desrealización. Daimon: Revista de Filosofia 39:175-185.
    The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...)
    Remove from this list |
    Translate to English
    | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  3. H. G. Callaway (1986). Beardsley on Metaphor. Restant 14, Text, Literature and Aesthetics 14:73-88.
    Monroe C. Beardsley has made seminal contributions to the on-going discussions of metaphor, contributions of continuing relevance and influence. His "Verbal Opposition Theory," like Max Black's "Interaction Theory," is a classic document of the contemporary semantic approach to metaphor, and has placed special emphasis upon the recognition of metaphor --the problem of the metaphorical warrant--which has lead to a deeper understanding of the complexities of this problem.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  4. Kim Chong Chong (2006). Zhuangzi and the Nature of Metaphor. Philosophy East and West 56 (3):370-391.
    : While it is well known that Zhuangzi uses metaphor extensively, there is much less appreciation of the role that it plays in his thought—a topic that is investigated in this essay. At the same time, this investigation is closely concerned with questions about the nature of metaphor. Comparisons are made between a central metaphorical structure in the Zhuangzi on the one hand and contemporary views of the nature of metaphor by Donald Davidson and by Lakoff and Johnson on the (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  5. Dickie George (1985). Evaluating Art. British Journal of Aesthetics 25 (1).
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  6. Emilio Roma Iii (1966). The Scope of the Intentional Fallacy. The Monist 50 (2):250 - 266.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  7. Sacha Loeve (2011). Sensible Atoms: A Techno-Aesthetic Approach to Representation. [REVIEW] NanoEthics 5 (2):203-222.
    This essay argues that nano-images would be best understood with an aesthetical approach rather than with an epistemological critique. For this aim, I propose a ‘techno-aesthetical’ approach: an enquiry into the way instruments and machines transform the logic of the sensible itself and not just the way by which it represents something else. Unlike critical epistemology, which remains self-evidently grounded on a representationalist philosophy, the approach developed here presents the advantage of providing a clear-cut distinction between image-as-representation and other modes (...)
    Remove from this list | Direct download (10 more)  
     
    My bibliography  
     
    Export citation  
  8. John Michael McGuire (2003). Davidson on Metaphorical Meaning: A Reply to Stainton. Dialogue 42 (02):355-.
    That the central thesis of Donald Davidson’s classic article on metaphor “What Metaphor Means” (WMM) is ambiguous between a weak and a strong interpretation is the primary claim that I sought to establish in my article “Sentence Meaning, Speaker Meaning, and Davidson’s Denial of Metaphorical Meaning.” In addition to this, I argued that the weak claim is trivially true and the strong claim is obviously false. Therefore, I concluded that when the central thesis of WMM is disambiguated, it is insignificant. (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  9. Anna Mudde (2011). Finn Fordham, I Do, I Undo, I Redo: The Textual Genesis of Modernist Selves in Hopkins, Yeats, Conrad, Forster, Joyce, and Woolf. [REVIEW] Symposium: The Canadian Journal of Continental Philosophy 15 (2):234-236.
  10. Dennis Potter (2006). Diagrammatic Representation in Geometry. Dialectica 60 (4):369–382.
    In this paper I offer a theory about the nature of diagrammatic representation in geometry. On my view, diagrammatic representaiton differs from pictorial representation in that neither the resemblance between the diagram and its object nor the experience of such a resemblance plays an essential role. Instead, the diagrammatic representation is arises from the role the components of the diagram play in a diagramatic practice that allows us to draws inferences based on them about the ojbects they represent.
    Remove from this list | Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  11. Lynne Tirrell (1991). Seeing Metaphor as Seeing-As: Davidson's Positive View of Metaphor. Philosophical Investigations 14 (2):143-154.
    Davidson suggests that metaphor is a pragmatic (not a semantic) phenomenon; it prompts its audience to see one thing as another. Davidson rightly attacks speaker-intentionalism as the source of metaphorical meaning, but settles for an account that depends on audience intentions. A better approach would undermine intentionalism per se, replacing it with a social practice analysis based on patterns of extending the metaphor. This paper shows why Davidson’s perceptual model fails to stave off semantic analysis, and argues that the professed (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  12. Kenneth R. Westphal (1997). ‘Hegel, Formalism, and Robert Turner’s Ceramic Art’. Jahrbuch für Hegelforschung 3:259–283.
    Hegel’s aesthetic ideal is the perfect integration of form and content within a work of art. This ideal is incompatible with the predominant 20th-century principle of formalist criticism, that form is the sole important factor in a work of art. Although the formalist dichotomy between form and content has been criticized on philosophical grounds, that does not suffice to justify Hegel’s ideal. Justifying Hegel’s ideal requires detailed art criticism that shows how form and content are, and why they should be, (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
Aesthetic Symbol Systems
  1. Guy Bennett-Hunter (2010). Christmas Mythologies: Sacred and Secular. In Scott C. Lowe (ed.), Christmas: Philosophy For Everyone. Wiley-Blackwell.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  2. Ben Blumson (2014). Symbol Systems. In Resemblance and Representation. Open Book Publishers. 85-98.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  3. Ben Blumson (2011). Depictive Structure? Philosophical Papers 40 (1):1-25.
    This paper argues against definitions of depiction in terms of the syntactic and semantic properties of symbol systems. In particular, it is argued that John Kulvicki's definition of depictive symbol systems in terms of relative repleteness, semantic richness, syntactic sensitivity and transparency is susceptible to similar counterexamples as Nelson Goodman's in terms of syntactic density, semantic density and relative repleteness. The general moral drawn is that defining depiction requires attention not merely to descriptive questions about syntax and semantics, but also (...)
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  4. Ben Blumson (2008). Depiction and Convention. Dialectica 62 (3):335-348.
    By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.
    Remove from this list | Direct download (9 more)  
     
    My bibliography  
     
    Export citation  
  5. Jochen Briesen (2014). Pictorial Art and Epistemic Aims. In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Publishing. 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  6. Andrew Chignell (2007). Kant on the Normativity of Taste: The Role of Aesthetic Ideas. Australasian Journal of Philosophy 85 (3):415 – 433.
    For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...)
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  7. Andrew Chignell (2006). Beauty as a Symbol of Natural Systematicity. British Journal of Aesthetics 46 (4):406-415.
    I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .
    Remove from this list | Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  8. Rory J. Conces (2011). Using Public Evocative Objects to Support a Multiethnic Democractic Society in Kosovo (II) Fields of Existence Vs. Fields of Battle. Bosnia Daily:9-10.
  9. Rory J. Conces (2011). Using Public Evocative Objects to Support a Multiethnic Democratic Society in Kosovo (I) Friendly and Enemy Images. Bosnia Daily.
  10. Nelson Goodman (1968). Languages of Art. Bobbs-Merrill.
    . . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  11. Gaetano Iaia (2011). Rappresentazione dell’inimmaginabile: l’immagine sacra, silenzioso “segno messianico”. Capys 2 (2):255-267.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  12. Steven A. Knowlton (2013). Evocation and Figurative Thought in Tennessee Flag Culture. Raven 20:23-54.
    The popularity of logos derived from the Tennessee flag can be explained by its obvious and relevant symbolism, but also by the phenomenon of pragmatic unity through which the Tennessee flag evokes the Confederate flag, as well as by the phenomenon of visual synecdoche, which allows observers to associate the three-star element with the entire flag and its associated meanings.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  13. John V. Kulvicki (2006). On Images: Their Structure and Content. Clarendon.
    What makes pictures different from all of the other ways we have of representing things? Why do pictures seem so immediate? What makes a picture realistic or not? Against prevailing wisdom, Kulvicki claims that what makes pictures special is not how we perceive them, but how they relate to one another. This not only provides some new answers to old questions, but it shows that there are many more kinds of pictures out there than many have thought.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  14. Oliver Robert Scholz (2000). A Solid Sense of Syntax. Erkenntnis 52 (2):199-212.
    Every materially adequate explication of the concepts ``picture''and ``the pictorial'' has to appeal to syntactical properties.From the available definitions, a conception of syntax is extractedthat is applicable to symbol systems of any sort. Against thisbackground, it is shown that a non-semantical characterization ofthe pictorial is mandatory. Finally, specific syntactical featuresare explicated that recommend themselves as necessary conditions forthe application of the concept of a picture.
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  15. Mark Textor (2008). Samples as Symbols. Ratio 21 (3):344-359.
    Nelson Goodman and, following him, Catherine Z. Elgin and Keith Lehrer have claimed that sometimes a sample is a symbol that stands for the property it is a sample of. The relation between the sample and the property it stands for is called 'exemplification' (Goodman, Elgin) or 'exemplarisation' (Lehrer). Goodman and Lehrer argue that the notion of exemplification sheds light on central problems in aesthetics and the philosophy of mind. However, while there seems to be a phenomenon to be captured, (...)
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  16. Servaas de V. van der Berg (2012). Towards Defending a Semantic Theory of Expression in Art: Revisiting Goodman. South African Journal of Philosophy 30 (3):600-612.
    Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in art. Moreover (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  17. Inga Vermeulen, Georg Brun & Christoph Baumberger (2009). Five Ways of (Not) Defining Exempliflcation. In G. Ernst, J. Steinbrenner & O. Scholz (eds.), From Logic to Art: Themes From Nelson Goodman. Ontos. 7--219.
    The notion of exemplification is essential for Goodman’s theory of symbols. But Goodman’s account of exemplification has been criticized as unclear and inadequate. He points out two conditions for an object x exemplifying a label y: (C1) y denotes x and (C2) x refers to y. While (C1) is uncontroversial, (C2) raises the question of how “refers to” should be interpreted. This problem is intertwined with three further questions that consequently should be discussed together with it. Are the two necessary (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  18. Kendall L. Walton (1971). Languages of Art: An Emendation. Philosophical Studies 22 (5-6):82 - 85.
    In nelson goodman's "languages of art" a symbol system must be 'finitely differentiated', both syntactically and semantically, to count as a 'notation'. goodman's formulations of these differentiation requirements are seriously defective. it is shown that most of the examples of systems which he claims fail these requirements, do not fail them as they are stated. reformulations of the two requirements are offered, which accord with the examples and seem otherwise acceptable.
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
Intention and Interpretation
  1. M. Cristina Amoretti & Nicla Vassallo (eds.) (2008). Knowledge, Language, and Interpretation: On the Philosophy of Donald Davidson. Ontos Verlag.
    Thanks to their heterogeneity, the nine essays in this volume offer a clear testimony of Donald Davidson's authority, and they undoubtedly show how much his work - even if it has raised many doubts and criticisms - has been, and still is, highly influential and significant in contemporary analytical philosophy for a wide range of subjects. Moreover, the various articles not only critically and carefully analyse Davidson's theses and arguments (in particular those concerning language and knowledge), but they also illustrate (...)
    Remove from this list |
    Translate to English
    | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  2. Ben Blumson, 'Metaphorically'.
    Not every metaphor can be literally paraphrased by a corresponding simile – the metaphorical meaning of ‘Juliet is the sun’, for example, is not the literal meaning of ‘Juliet is like the sun’. But every metaphor can be literally paraphrased, since if ‘metaphorically’ is prefixed to a metaphor, the result says literally what the metaphor says figuratively – the metaphorical meaning of ‘Juliet is the sun’, for example, is the literal meaning of ‘metaphorically, Juliet is the sun’.
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  3. Ben Blumson (2014). Depiction and Intention. In Resemblance and Representation. Open Book Publishers. 51-66.
  4. Robert Briscoe, Depiction, Pictorial Experience, and Vision Science.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience or ‘seeing-in’, to use Richard Wollheim’s familiar expression. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that seeing-in and seeing face-to-face are experiences of the same psychological, explanatory kind. (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  5. Laurie Calhoun (1994). The Intentional Fallacy. Philosophy and Literature 18 (2):337-338.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  6. Noël Carroll (1997). The Intentional Fallacy: Defending Myself. Journal of Aesthetics and Art Criticism 55 (3):305-309.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  7. Johan de Smedt & Helen de Cruz (2011). A Cognitive Approach to the Earliest Art. Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  8. Caleb Dewey (2015). Interpretive Pluralism & Morality in Art. The Oracle 9.
    In this essay, I propose a revision to the ongoing debate about whether moral disvalue can contribute to aesthetic value in artworks. To do so, I begin by formalizing the arguments provided by the leading opponents in the debate, Carroll and Eaton. I find that both Carroll and Eaton share a common, flawed premise - that there is a single internal perspective of an artwork. I then argue that this interpretive monism cannot be true by creating a schematic method to (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  9. George Dickie & W. Kent Wilson (1995). The Intentional Fallacy: Defending Beardsley. Journal of Aesthetics and Art Criticism 53 (3):233-250.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  10. Carol Donnell-Kotrozo (1980). The Intentional Fallacy: An Applied Reappraisal. British Journal of Aesthetics 20 (4):356-365.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  11. James Downey (2007). A Fallacy in the Intentional Fallacy. Philosophy and Literature 31 (1):149-152.
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  12. Rachael Fernflores (2010). Beyond the Intentional Fallacy. Literature & Aesthetics 20 (2):56-73.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  13. John Gibson (2010). Interpretation, Sincerity and "Theory". Contemporary Aesthetics 8.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  14. A. Huddleston (2012). The Conversation Argument for Actual Intentionalism. British Journal of Aesthetics 52 (3):241-256.
    Proponents of actual intentionalism hold that an author’s actual intentions should constrain the proper interpretation of his or her works. If, for example, we have good reason to think Proust intends his character Marcel to set out to write a different novel from In Search of Lost Time itself, then that is how we should interpret the text. After decades of being denigrated as the ‘intentional fallacy’, actual intentionalism has enjoyed a renaissance in philosophical aesthetics in recent years, thanks in (...)
    Remove from this list | Direct download (8 more)  
     
    My bibliography  
     
    Export citation  
  15. Berel Lang (1974). The Intentional Fallacy Revisited. British Journal of Aesthetics 14 (4):306-314.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  16. Lawrence Lengbeyer (2005). Humor, Context, and Divided Cognition. Social Theory and Practice 31 (3):309-36.
    Those who suggest that only a sexist (or racist, or anti-semite) can experience amusement at a sexist (or racist, or anti-semitic) joke have failed to grasp two underappreciated features of the psychology of humor: (1) that amusement is sensitive to what is conveyed to the audience by the contexts within which a joke is taken to be situated, and hence to pragmatic, and not merely semantic, factors; and (2) that, given the non-integrated nature of the ordinary human cognitive system, the (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  17. Jerrold Levinson (2010). Defending Hypothetical Intentionalism. British Journal of Aesthetics 50 (2):139-150.
    I here defend hypothetical intentionalism, the view of literary and cinematic interpretation that I endorse, from some recent criticisms, and then illustrate the appeal of the view in connection with a recent film of enigmatic cast.
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  18. Paisley Livingston (2005). Art and Intention: A Philosophical Study. Oxford University Press.
    In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  19. Christian Lotz (2012). Distant Presence: Representation, Painting and Photography in Gerhard Richter’s Reader. Painting and Photography in Gerhard Richter’s Reader,” Symposium. Canadian Journal for Continental Philosophy 16 (1):87-111.
    An essay concerning the representation of images in art, photography, and painting concerning analysis of Gerhard Richter's painting reader. It offers a debate that representation should be regarded as an act of formation and a performative concept. The author presents analysis of painting which leads the reader into the problem of painted images, such as the constitution of an image by a complex relationship among memory, reading, and blindness.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  20. Colin Lyas (1983). Anything Goes: The Intentional Fallacy Revisited. British Journal of Aesthetics 23 (4):291-305.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
1 — 50 / 80