David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Synthese 179 (1):43 - 57 (2011)
This paper provides a précis of Ernst Cassirer's concept of art as a symbolic form. It does so, though, in a specific respect. It points to the fact that Cassirer's concept of "symbolic form" is two-sided. On the one hand, the concept captures general cultural phenomena that are not only meaningful but also manifest the way man makes sense of the world; thus myth, religion, and art are considered general symbolic forms. On the other hand, it captures the formal structures and semiotic tools thanks to which meaning is constructed within each general symbolic form (Cassirer called these structures "modes of objectivation"); thus, in art, perspective or the golden section are well-known examples of symbolic forms, now in a narrow sense, i.e. they are means to configure parts into an organized, meaningful whole. The paper will comment on art along both these two dimensions, but its main goal is to provide with concrete examples of aesthetic symbolic forms in the narrow sense in order to show how conceptual meaning can be inscribed in the space of aesthetic intuition
|Keywords||Cassirer Symbolic forms Art Perspective Non-genericity|
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References found in this work BETA
Vilayanur S. Ramachandran & William Hirstein (1999). The Science of Art: A Neurological Theory of Aesthetic Experience. Journal of Consciousness Studies 6 (6-7):15-41.
Rudolf Arnheim (1970). Visual Thinking. London,Faber.
Ernst Cassirer (1944/1992). An Essay on Man: An Introduction to a Philosophy of Human Culture. Yale University Press.
V. S. Ramachandran & W. Hirstein (1999). A Theory of Human Artistic Experience and the Neural Mechanisms That Mediate It. Journal of Consciousness Studies 6 (6-7):15-51.
Citations of this work BETA
Peer F. Bundgaard (2015). Feeling, Meaning, and Intentionality—a Critique of the Neuroaesthetics of Beauty. Phenomenology and the Cognitive Sciences 14 (4):781-801.
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