The Worlds of Art and the WorldJoseph Margolis Rodopi, 1984 - 203 sidor |
Vanliga ord och fraser
acquire actual world Aesthetics apply argued arguments artist assertions baroque music character claim concept context conventions course criteria critics discussion distinction distinguish Ecphonesis emotional empathic beliefs example exist explain expressive fact factual beliefs fantasy fictional creatures fictional entities fictional world film human Ibid illocutionary acts imaginary imagine improvisation instance intentional interest Joseph Margolis kind knowledge language learn from fiction linguistic logic meaning Monroe Beardsley object ontological P.F. Strawson painting particular performance Periphrasis Peter Kivy philosophy of dance photograph pictorial Platonism possible practice predicates problem program music properties proposed interpretation propositional propositional knowledge question Quintilian readers reality reason reference relation relevant represent representation rhetorical ricercare Roger Scruton rules score Searle Searle's semantic sense sentences Sherlock Holmes simply situation sort speak story Strawson suggest suppose theory thesis things tion token Tristan chord types of interpretations understand values W.V. Quine Wolterstorff words
Populära avsnitt
Sida 21 - The photographic image is the object itself, the object freed from the conditions of time and space that govern it. No matter how fuzzy, distorted, or discolored, no matter how lacking, in documentary value the image may be, it shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.
Sida 96 - When Jubal struck the chorded shell His listening brethren stood around, And, wondering, on their faces fell To worship that celestial sound. Less than a God they thought there could not dwell Within the hollow of that shell That spoke so sweetly and so well.
Sida 22 - ... a photograph is never less than the registering of an emanation (light waves reflected by objects) - a material vestige of its subject in a way that no painting can be.
Sida 22 - Such [photographic] images are indeed able to usurp reality because first of all a photograph is not only an image (as a painting is an image) an interpretation of the real: it is also a trace, something directly stencilled off the real, like a footprint or a death mask.
Sida 22 - Certainly the image is not the reality but at least it is its perfect analogon and it is exactly this analogical perfection which, to common sense, defines the photograph.
Sida 114 - The whole tradition of art assumes art is creative in the strict sense, that it is a godlike activity in which the artist brings into being what did not exist beforehand — much as a demiurge forms a world out of inchoate matter.
Hänvisningar till den här boken
Image and Mind: Film, Philosophy and Cognitive Science Gregory Currie Begränsad förhandsgranskning - 1995 |
Image and Mind: Film, Philosophy and Cognitive Science Gregory Currie Begränsad förhandsgranskning - 1995 |