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  1. The Crypt of Being: On the Gothic Sensibility of Reason.Cade Olmstead - 2023 - Dissertation, University of Vermont
    This thesis explores the relationship between philosophy and the gothic affect by examining the ways in which each handles conceptions of truth, identity, and visibility. While philosophy's idea of truth has traditionally been conceptualized through the metaphorics of light and its power of disclosure, this thesis argues that a distinctly gothic conception of truth emerges with the arrival of Kant's philosophy. Kant relies on a method and notion of truth which is not predicated on light but shadow and the constitutive (...)
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  2. Retrievals of the Lost Past: Jewish Mysticism and Cinema.Milad Roshani Payan - 2022 - Triple Ampersand (Andand&).
    In common sense, history is considered as a series of events that follow one another in a one-dimensional, irreversible, and forward-looking direction. This is the familiar understanding that considers history as chronological. In this case, which requires imagining a timeline, past events are separated from future events by the present moment. Each of the events that took place in the past becomes inaccessible and turns into a lost past. The logical consequence of this approach is that the past does not (...)
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  3. Assemblage du paradigme proto-esthétique aux Amériques.Frédéric Lefrançois - 2020 - Recherches 1 (25):143-153.
    This paper focuses on the conception of an endogenous aesthetic matrix in the Caribbean and the Americas within a decolonial perspective.
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  4. In the Court of the Jester: On Comedy and Democracy.Cade M. Olmstead - 2019 - Kritika and Kontext 1 (56):142-147.
    This paper seeks to make an assessment of the current political landscape with regard to the way comedy gets deployed as a form of political rhetoric and action. It begins with Alenka Zupančič’s analysis in 'The Odd One In' (2008) of G.W.F. Hegel’s developmental account of ancient Greek theatrical forms. The conclusion of comedy as a concrete universal is then expanded through reference to the performance theory of JeffreyC. Alexander. Attention is given to ineffective forms of comedy as political action, (...)
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  5. Світ символів Григорія Сковороди у збірці «Сад божественних пісень».Mariya Lynnyk - 2018 - NaUKMA Researh Papers. Literary Studies 1:14-19.
    У статті проаналізовано символіку збірки Г. Сковороди «Сад божественних пісень». Сильною позицією книжки є символ саду, яку філософ розширив введенням метафоричного образу зерен як мудрості, що «проросли із Священного Писання». У такий спосіб Г. Сковорода розширює межі інтерпретації Біблії крізь призму власного бачення світу. У роботі також досліджено філософські настанови, які проповідував мислитель протягом усього життя. Через універсальність ідей та розлогу інтертекстуальність твори цього барокового автора завжди матимуть невичерпну цінність для літературознавця.
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  6. Profiled hands in Palaeolithic art: the first universally recognized symbol of the human form.James W. P. Walker, David T. G. Clinnick & Jan B. W. Pedersen - 2018 - World Art 8 (1):1-19.
    Drawing on both anthropology and philosophy, this paper argues that the profiled form of the human hand is a universally recognizable image; one whose significance transcends temporally and geographically defined cultural divisions, and represents the earliest known artistic symbol of the human form. The unique co-occurrence of five properties in the image of the human hand and the way it is recognized support this argument, including that it is: (1) unmistakably a hand, (2) unmistakably human, (3) a universal point of (...)
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  7. Aesthetic Explanation and the Archaeology of Symbols.Gregory Currie - 2016 - British Journal of Aesthetics 56 (3):233-246.
    I argue that aesthetic ideas should play a significant role in archaeological explanation. I sketch an account of aesthetic interests which is appropriate to archaeological contexts. I illustrate the role of aesthetics through a discussion of the transition from signals to symbols. I argue that the opposition in archaeological debate between explanation and interpretation is one we should reject.
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  8. Textplicating Iconophones : Articulatory Iconic Action in Ulysses.Nurit Levy - 2016 - Amsterdam, Netherlands: John Benjamins.
    This volume applies a sign-oriented approach to the description of articulatory and acoustic iconic phenomena in James Joyce’s Ulysses. In its hypothesis, the greater the role of sensory experience in the message of a text, the more likely it is to employ linguistic representation in articulated sounds iconically to affect sensory experience. Ulysses is presented as a work of art whose emphasis on sensual impression and sensory experience is reflected in the composition and distribution of its phonemes. Four English phonemes (...)
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  9. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  10. Symbol Systems.Ben Blumson - 2014 - In Resemblance and Representation. Open Book Publishers. pp. 85-98.
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  11. Pictorial Art and Epistemic Aims.Jochen Briesen - 2014 - In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Press. pp. 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 (...)
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  12. Antinomies of representation: Anthropology as an ekphrastic process.David Zeitlyn - 2014 - HAU: Journal of Ethnographic Theory 4:341–362.
    This article addresses a profound anthropological issue: how do representation and the represented relate? What motivates or warrants the inevitable disconnection? It is a mistake to dismiss representation as misguided, oppressive, or misleading. Representation is part of cognition generally and natural language in particular. As such it is inescapable and part of how we think and talk about the world. Moving between visual and linguistic anthropology I suggest that photographs and portraits provide a rich basis for thinking about the particular (...)
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  13. Evocation and Figurative Thought in Tennessee Flag Culture.Steven A. Knowlton - 2013 - 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.
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  14. Towards defending a semantic theory of expression in art: Revisiting Goodman.Servaas van der Berg - 2012 - South African Journal of Philosophy 31 (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 (...)
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  15. Depictive Structure?Ben Blumson - 2011 - 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 (...)
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  16. Using Public Evocative Objects to Support a Multiethnic Democractic Society in Kosovo (II) Fields of Existence vs. Fields of Battle.Rory J. Conces - 2011 - Bosnia Daily:9-10.
  17. Using Public Evocative Objects to Support a Multiethnic Democratic Society in Kosovo (I) Friendly and Enemy Images.Rory J. Conces - 2011 - Bosnia Daily.
  18. Rappresentazione dell’inimmaginabile: l’immagine sacra, silenzioso “segno messianico”.Gaetano Iaia - 2011 - Capys 2 (2):255-267.
  19. The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
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  20. Christmas Mythologies: Sacred and Secular.Guy Bennett-Hunter - 2010 - In Scott C. Lowe (ed.), Christmas: Philosophy For Everyone. Wiley-Blackwell.
    On the 24th and 25th of December every year two very different stories are told: one in people’s homes, by the fireplace or Christmas tree, to pyjamaed but excited and sleepless children; the other to people of all ages in the more imposing setting of candlelit churches and cathedrals. I want to ask, in this essay: Does the telling of these two stories have anything in common? What can we learn by comparing them? The first one, the one I call (...)
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  21. Ambiguity in Architecture.Christoph Baumberger - 2009 - In Gerhard Ernst, Jakob Steinbrenner & Oliver R. Scholz (eds.), From Logic to Art: Themes from Nelson Goodman. Ontos. pp. 293-320.
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  22. Five Ways of (not) Defining Exemplification.Inga Vermeulen, Georg Brun & Christoph Baumberger - 2009 - In Gerhard Ernst, Jakob Steinbrenner & Oliver R. Scholz (eds.), From Logic to Art: Themes from Nelson Goodman. Ontos. pp. 219-250.
    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 (...)
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  23. Depiction and convention.Ben Blumson - 2008 - 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.
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  24. Samples as symbols.Mark Textor - 2008 - 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, (...)
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  25. Kant on the normativity of taste: The role of aesthetic ideas.Andrew Chignell - 2007 - 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 (...)
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  26. Symposium on pictorial realism : Introduction.Jennifer A. McMahon - 2007 - Contemporary Aesthetics 4.
    The participants in this Symposium gathered for a two-day conference on Pictorial Realism at the University of Adelaide. Our aim was to analyse the notion of pictorial realism with a view to its relevance for the way in which art history is conceived and appreciated. Specifically, we examined the extent to which the representational content of artworks can be ascertained independently of preconceived theoretical knowledge about the representational system within which the artwork is made. Papers focus in particular on the (...)
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  27. Beauty as a symbol of natural systematicity.Andrew Chignell - 2006 - 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. -/- .
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  28. On Images: Their Structure and Content.John V. Kulvicki - 2006 - Oxford, GB: Oxford University Press UK.
    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.
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  29. Restating The Case For Representation In The Philosophy Of Opera.Daniel Gallagher - 2005 - Postgraduate Journal of Aesthetics 2 (2):62-69.
    Opera dilettantes will forever argue over the relative importance of words and music in the creation and performance of their beloved art form. For philosophers brave enough to enter the fray, the issue raises a number of interesting ontological and phenomenological questions. In what does the work of opera primarily exist? What is distinctive of opera as a mode of dramatic presentation?
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  30. Immersive Excess in the Apse of Lascaux.Joseph Nechvatal - 2005 - Technoetic Arts 3 (3):181-192.
    This paper will investigate the anonymous collective of skilled artists which created an immersive work of art of a high order in the Abside (Apse) of the Grotte de Lascaux. The Apse is a roundish, semi-spherical, penumbra-like chamber (like those adjacent to romanesque basiliques) approximately 4.5 metres in diameter (about 5 yards) covered on every wall surface (including the ceiling) with thousands of entangled, overlapping, engraved drawings (Leroi-Gourhan, 1968, p. 315) for which, on request, I received a very unique privilege (...)
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  31. Architectural notation and computer aided design.Saul Fisher - 2000 - Journal of Aesthetics and Art Criticism 58 (3):273-289.
    In his Languages of Art, Nelson Goodman proposes a theory of artistic notation that includes foundational requirements for any system of symbols we might use to specify and communicate the features of an artwork, in architecture or any other art form. Goodmans' theory usefully explains how notation can reveal linguistic-like phenomena of various art forms. But not all art forms can enjoy benefits of a full-blown notational system, in Goodman's view, and he suggests that architecture's symbol systems fall short in (...)
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  32. A solid sense of syntax.Oliver Robert Scholz - 2000 - 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.
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  33. Understanding Pictures.Dominic Lopes - 1999 - Philosophical Quarterly 49 (196):398-400.
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  34. Languages of art: An emendation.Kendall L. Walton - 1971 - 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.
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  35. Languages of Art: An Approach to a Theory of Symbols.Nelson Goodman - 1968 - Indianapolis,: 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.
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