Art and Imagination: A Study in the Philosophy of MindSt. Augustine's Press, 1998 - 256 pages This book presents a theory of aesthetic judgment and appreciation in the spirit of modern empiricism. There are three parts: the first deals with questions of philosophical logic, the second with questions in the philosophy of mind, and the third with questions in the philosophy of art. Thus the argument advances from a theory of aesthetic judgment (and in particular of "aesthetic description"), to a theory of aesthetic appreciation, and thence to an account of the nature and value of art. |
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Page 26
... context - dependent interpretations , in which we speak of them as tragic , moving , balanced , evocative , sincere , sad , refined , noble , sentimental and so on . This second vocabulary is in some ways similar to the vocabulary of ...
... context - dependent interpretations , in which we speak of them as tragic , moving , balanced , evocative , sincere , sad , refined , noble , sentimental and so on . This second vocabulary is in some ways similar to the vocabulary of ...
Page 76
... context , the recognition of the sadness of its object ? This objection is , it seems to me , extremely powerful . It forces us to retreat from all the traditional theories of the place of feeling in art , and it determines the ...
... context , the recognition of the sadness of its object ? This objection is , it seems to me , extremely powerful . It forces us to retreat from all the traditional theories of the place of feeling in art , and it determines the ...
Page 197
... context to the second . The difference between the two contexts can be explained immediately : the first involves at least two separate propositions : ' X believes that Fa ' and ' Fa is true ' . The second of these carries the reference ...
... context to the second . The difference between the two contexts can be explained immediately : the first involves at least two separate propositions : ' X believes that Fa ' and ' Fa is true ' . The second of these carries the reference ...
Contents
The Individuality of the Aesthetic Object | 15 |
Aesthetic Perception | 29 |
Recognition and Response | 71 |
Copyright | |
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Common terms and phrases
aesthetic appreciation aesthetic attitude aesthetic description aesthetic experience aesthetic features aesthetic interest aesthetic judgement aesthetic object aesthetic perception analogy analysis answer apply argue argument aspect asserted ation attempt beautiful behaviour belief Chapter cognitive concept criteria criterion describe desire distinction duck emotion empiricist example explain expression fact feeling G. E. M. Anscombe give Goodman H. P. Grice hearing hence HP sauce I. A. Richards idea identity imagery imagination independent intention intentional object intentionality involves kind knowledge language logical look meaning melody mental mind moral judgement nature normal notion object of aesthetic P. T. Geach painting particular philosophers philosophy of mind picture poem possible predicate properties proposition question R. M. Hare reason reference relation representation response seems semantic theory sense sentences similar simply someone suggest suppose symbol taste theory of aesthetic thing thought truth conditions unasserted understanding visual Wittgenstein words