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 39
... seen the sadness of the works of art that he classifies together . He has not seen that what it is they all have in common is sadness , one wants to say , for he has not seen the vital connection that exists between these works and the ...
... seen the sadness of the works of art that he classifies together . He has not seen that what it is they all have in common is sadness , one wants to say , for he has not seen the vital connection that exists between these works and the ...
Page 197
... seen as b and ( x ) ( x b ) ' , and ' a can be seen as b ' ( where ' a ' and ' b ' are singular terms ) . The intensional sense would then be prior , the central component of meaning in either construction . Such a theory would , of ...
... seen as b and ( x ) ( x b ) ' , and ' a can be seen as b ' ( where ' a ' and ' b ' are singular terms ) . The intensional sense would then be prior , the central component of meaning in either construction . Such a theory would , of ...
Page 208
... seen that what makes representation possible in both painting and literature is the existence of a medium in which an artist can effectively direct our thoughts to pre - established objects . There is no room for doubt that a painting ...
... seen that what makes representation possible in both painting and literature is the existence of a medium in which an artist can effectively direct our thoughts to pre - established objects . There is no room for doubt that a painting ...
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