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The Cognition of the Literary Work of Art

Northwestern University Press (1973)

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  1. Phenomenology of imagining and the pragmatics of fictional language.Michela Summa - 2020 - Continental Philosophy Review 53 (4):465-486.
    This paper focuses on the performative character of fictional language. While assuming that all speaking is a form of acting, it aims to shed light on the nature of fictional, and particularly literary, speech acts. To this aim, relevant input can be found in the discussion of the ontological status of fictional entities and of their constitution and in the inquiry into the interaction between author and receiver of a fictional work. Based on the critical assessment of different approaches in (...)
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  • Embodying Literature.Ellen Esrock - 2004 - Journal of Consciousness Studies 11 (5-6):5-6.
    Walt Disney’s movie, The Pagemaster (1994) begins on a dark and stormy night, with a young boy stumbling into an immense, gothic-styled library for refuge from the rain. Once inside, he is soon carried away by a tumultuous river of coloured paints, transformed into an animated characterization of himself, and thrust into an animated world of literature, where he battles Captain Hook, flees Moby Dick, and participates in other classic tales of adventure, horror, and fantasy. -/- Adults might understand the (...)
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  • Ingarden’s Concept of the Structure of a Literary Work as an Inspiration for the Analysis of Artistic Communication.Katarzyna Rosner - 1974 - Studia Semiotyczne—English Supplement 5:48-70.
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  • Quantum Anthropology: Man, Cultures, and Groups in a Quantum Perspective.Radek Trnka & Radmila Lorencova - 2016 - Charles University Karolinum Press.
    This philosophical anthropology tries to explore the basic categories of man’s being in the worlds using a special quantum meta-ontology that is introduced in the book. Quantum understanding of space and time, consciousness, or empirical/nonempirical reality elicits new questions relating to philosophical concerns such as subjectivity, free will, mind, perception, experience, dialectic, or agency. The authors have developed an inspiring theoretical framework transcending the boundaries of particular disciplines, e.g. quantum philosophy, metaphysics of consciousness, philosophy of mind, phenomenology of space and (...)
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  • Mental Imagery in the Experience of Literary Narrative: Views From Embodied Cognition.Anezka Kuzmicova - 2013 - Dissertation, Stockholm University
    Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, (...)
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  • Cartographies of Cognitive Poetics.Peter Stockwell - 2008 - Radical Philosophy Review of Books 16 (3):587-598.
    The founder of Cognitive Poetics, Reuven Tsur, has seen his project broaden and evolve over the last quarter-century. Some of these developments run counter to Tsur's continuing thinking, and he has been critical of some of the work that now goes under the name `cognitive poetics'. This paper is partly a response to criticisms made by Tsur specifically in relation to Stockwell's work, and partly a more general defence of the broad discipline as it has emerged in recent years. The (...)
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  • Introduction to the Issue.Maria Popczyk - 2015 - Argument: Biannual Philosophical Journal 5 (2):329-336.
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  • Cycling as Reading a Cityscape: A Phenomenological Approach to Interface-Shaped Perception.Janez Strehovec - 2010 - Indo-Pacific Journal of Phenomenology 10 (2):1-11.
    This essay attempts to assess whether the perceptual issues posed by the contemporary interface culture, and the constant attitude shift demanded by the new media between the “natural” and the “as if” modes, might be considered a significant challenge for phenomenological aesthetics as understood in terms of Merleau-Ponty’s phenomenology of perception. To demonstrate how the use of a particular interface profoundly shapes the form and structure of an activity as well as enabling perception of a particular kind, the author does (...)
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  • On the Why-What Phenomenon: A Phenomenological Explication of the Art of Asking Questions. [REVIEW]Akihiro Yoshida - 1992 - Human Studies 15 (1):35 - 46.
    In the psychology of teaching, teaching of knowledge is one of the central themes. The psychology of teaching itself is also knowledge, so that the psychology of teaching and the teaching of psychology mutually include each other. Here, I would like to consider a phenomenon in the art of questioning in teaching a literary work of art and would like to show its relevance to the psychology of teaching in general.
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  • The Category of Culture in Soviet Philosophy.Edward M. Swiderski - 1988 - Studies in East European Thought 35 (2):83-124.
  • The Intuition of Time Between Science and Art History in the Early Twentieth Century.Gabriel Motzkin - 1997 - Science in Context 10 (1):207-220.
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  • The Category of Culture in Soviet Philosophy.Edward M. Swiderski - 1988 - Studies in Soviet Thought 35 (2):83-124.
  • New Media Art as Research: Art-Making Beyond the Autonomy of Art and Aesthetics.Janez Strehovec - 2009 - Technoetic Arts 6 (3):233-250.
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