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 174
... melody ( or as containing a melody ) , and the man who simply hears it as a sequence of notes is not a difference in what the two men separately hear . They may each hear the same notes , and for the sake of argument we can imagine that ...
... melody ( or as containing a melody ) , and the man who simply hears it as a sequence of notes is not a difference in what the two men separately hear . They may each hear the same notes , and for the sake of argument we can imagine that ...
Page 176
... melody is unlike the case of seeing a group of coloured patches as a man , in that we do not have independent access to the concept of a melody . All we know of melodies is derived from our capacity to have this kind of experience ( if ...
... melody is unlike the case of seeing a group of coloured patches as a man , in that we do not have independent access to the concept of a melody . All we know of melodies is derived from our capacity to have this kind of experience ( if ...
Page 178
... melody stands out , while the lower melody is a mere echo , with no proper life of its own . This is not simply a consequence of the fact that the striking melody is in the upper part : any part can acquire a vivid character ...
... melody stands out , while the lower melody is a mere echo , with no proper life of its own . This is not simply a consequence of the fact that the striking melody is in the upper part : any part can acquire a vivid character ...
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