I investigate and reject two attempts to delimit the realm of the aesthetic: I go on to argue that aesthetic descriptions must not be thought to ascribe properties to their objects, and I show how the suggestion that they are non-descriptive need not conflict with the empiricist view of meaning.
The problem is then seen to lie with the analysis of the 'acceptance-conditions' of aesthetic descriptions. I counter certain idealist objections to this approach, and then present a theory of imagination, in terms of which the acceptance conditions of aesthetic judgments may be described. This theory attempts to explain how the element of thought in aesthetic appreciation may become inseparable from an experience of its object, and how the aesthetic emotions are both like and unlike their equivalents in life.
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The first part concludes with an analysis of the general conditions of aesthetic experience. I try to show that aesthetic experience can be described in terms of certain 'formal' properties, independently of its material object. In the second part I am concerned to show that this empiricist theory of aesthetics does not, like most empiricist theories, make nonsense of our appreciation of art.http://forum2.quizizz.com/recetas-caseras-de-ayer-hoy.php
Iris Murdoch and the art of imagination: imaginative philososphy as response to secularism
First, I attempt to show that 'understanding' art is not merely a cognitive process, but involves certain experiences that can be accounted for in terms of the previous theory. I then analyse the concepts of representation and expression, and in the course of this analysis I attempt to refute what I take to be the most serious rival analysis of our appreciation of art - the semantic theory. Recommended or similar items. Separate different tags with a comma. To include a comma in your tag, surround the tag with double quotes. Skip to content Skip to search. Home All editions This edition , English, Book edition: Published London ; New York: Language English View all editions Prev Next edition 3 of 3.
Physical Description p. Subjects Imagination Philosophy Arts -- Philosophy. Summary "The volume will attract substantial interest in philosophers of art, as well as those working on mental representation, emotion theory, perception and fiction.
Imagination, Philosophy, and the Arts - Google Книги
Working with examples which include Edward Lear's The Owl and the Pussycat, Mahler's Seventh Symphony, and Oliver Stone's film JFK, these papers make a large contribution to developing our understanding of 'imagination' in new directions and setting the research agenda for the next decade. Notes Some of the papers were first presented at a conference on Imagination and the Arts held in July at the University of Leeds. Includes bibliographical references and index.
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