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  1. Peer F. Bundgaard (2004). Configuration sémantique et combinaison syntaxique dans la IV "Recherche logique de Husserl. Recherches Husserliennes 21:3-34.
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  2. Peer F. Bundgaard (2002). Ernst Cassirer's Theory of Perception: Towards a Geometry of Experience. In Gunnar Foss & Eivind Kasa (eds.), Forms of Knowledge and Sensibility: Ernst Cassirer and the Human Sciences. Høyskoleforlaget 149--182.
     
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  3.  3
    Peer F. Bundgaard, Svend Ostergaard & Frederik Stjernfelt (2006). Waterproof Fire Stations? Conceptual Schemata and Cognitive Operations Involved in Compound Constructions. Semiotica 2006 (161):363-393.
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  4.  72
    Peer F. Bundgaard (2011). The Grammar of Aesthetic Intuition: On Ernst Cassirer's Concept of Symbolic Form in the Visual Arts. Synthese 179 (1):43 - 57.
    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 (...)
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  5.  6
    Peer F. Bundgaard & Svend Østergaard (2007). The Story Turned Upside Down: Meaning Effects Linked to Variations on Narrative Structure. Semiotica 2007 (165):263-275.
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  6.  31
    Peer F. Bundgaard (2015). Feeling, Meaning, and Intentionality—a Critique of the Neuroaesthetics of Beauty. Phenomenology and the Cognitive Sciences 14 (4):781-801.
    This article addresses the phenomenology of aesthetic experience. It first, critically, considers one of the most influential approaches to the psychophysics of aesthetic perception, viz. neuroaesthetics. Hereafter, it outlines constitutive tenets of aesthetic perception in terms of a particular intentional relation to the object. The argument comes in three steps. First, I show the inadequacies of the neuroaesthetics of beauty in general and Semir Zeki’s and V.J. Ramachandran’s versions of it in particular. The neuroaesthetics of beauty falls short, because it (...)
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  7.  42
    Peer F. Bundgaard (2004). The Ideal Scaffolding of Language: Husser's Fourth Logical Investigation in the Light of Cognitive Linguistics. [REVIEW] Phenomenology and the Cognitive Sciences 3 (1):49-80.
    One of the central issues in linguistics is whether or not language should be considered a self-contained, autonomous formal system, essentially reducible to the syntactic algorithms of meaning construction (as Chomskyan grammar would have it), or a holistic-functional system serving the means of expressing pre-organized intentional contents and thus accessible with respect to features and structures pertaining to other cognitive subsystems or to human experience as such (as Cognitive Linguistics would have it). The latter claim depends critically on the existence (...)
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  8.  9
    Peer F. Bundgaard (2006). Principles of Linguistic Composition Below and Beyond the Clause: Elements of a Semantic Combinatorial System. Pragmatics and Cognition 14 (3):501-526.
    The present investigation challenges the traditional distinction between cohesion and coherence; i.e., the distinction between the syntactical rules governing the composition of lexical units within the scope of the clause and the semantic-pragmatic rules guiding the composition of text units beyond the scope of the clause. To this end it exposes two major principles of semantic combination that are active through all levels of linguistic composition: viz. frame-schematic structure and narrative structure. These principles are considered as being components of a (...)
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    Peer F. Bundgaard (2007). The Cognitive Import of the Narrative Schema. Semiotica 2007 (165):247-261.
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  10.  3
    Peer F. Bundgaard, Svend Østergaard & Frederik Stjernfelt (2008). Multi Safe Compound Constructions: A Reply to Anders Søgaard. Semiotica 2008 (172):313-322.
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  11.  3
    Peer F. Bundgaard (2013). Roman Ingarden's Theory of Reader Experience: A Critical Assessment. Semiotica 2013 (194):171-188.
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  12.  1
    Peer F. Bundgaard (2011). The Grammar of Aesthetic Intuition: On Ernst Cassirer’s Concept of Symbolic Form in the Visual Arts. Synthese 179 (1):43-57.
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    Peer F. Bundgaard & Frederik Stjernfelt (eds.) (2015). Investigations Into the Phenomenology and the Ontology of the Work of Art: What Are Artworks and How Do We Experience Them? Springer International Publishing.
    ​This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second issue (...)
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  14. Peer F. Bundgaard (2006). Principles of Linguistic Composition Below and Beyond the Clause: Elements of a Semantic Combinatorial System. Pragmatics and Cognitionpragmatics and Cognition 14 (3):501-525.
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  15. Peer F. Bundgaard & Frederik Stjernfelt (eds.) (2010). Semiotics. Routledge.
    Semiotics embraces linguistics, philosophy, and literary studies, as well as linking to anthropology, art, psychology, and biology. This new Routledge collection helps to make sense of the subject’s huge interdisciplinary corpus of scholarly literature and brings together the best and most influential materials from ‘the first phase’, neo-classics from the institutionalization of semiotics in the 1960s, and contemporary works illustrating the ongoing development of semiotics and its widening applications. Volume I collects pre-modern material showing the genesis of semiotics from Locke (...)
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