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​This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second issue studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a particular kind of experience. The research question explored is: What properties in artful objects trigger this type of experience, and what characterizes representation in written and visual artworks? The volume sets the scene for state-of-the-art inquiries in the intersection between the psychology and ontology of art. The investigations of the relation between the properties of artworks and the characteristics of aesthetic experience increase our insight into what art is. In addition, they shed light on essential properties of human meaning-making in general.
An original study of the intrinsic significance of art, drawing on ideas, thinkers and approaches from phenomenology and analytic aesthetics.
The Phenomenology of Aesthetic Experience (Fr. Ph nom nologie de l'exp rience esth tique) was first published in 1953. In the first of four parts, Dufrenne distinguishes the "aesthetic object" from the "work of art." In the second, he elucidates types of works of art, especially music and painting. He devotes his third section to aesthetic perception. In the fourth, he describes a Kantian critique of aesthetic experience. A perennial classic in the SPEP series, the work is rounded out by a detailed "Translator's Foreword" especially helpful to readers in aesthetics interested in the context and circumstances around which the original was published as well as the phenomenological background of the book.
Diagrammatology investigates the role of diagrams for thought and knowledge. Based on the general doctrine of diagrams in Charles Peirce's mature work, Diagrammatology claims diagrams to constitute a centerpiece of epistemology. This book reflects Peirce's work on the issue in Husserl's contemporaneous doctrine of categorical intuition and charts the many unnoticed similarities between Peircean semiotics and early Husserlian phenomenology.
The book is a comprehensive phenomenological study of meanings that are unique to the major visual art forms.
McAllestar (computer science, MIT) describes ONTIC, the interactive system for verifying represents a significant change of direction in the field of mechanical deduction, a key area in computer science and artificial intelligence. Fourteen interrelated essays comprise a multifaceted dialogue about intersubjectivity, reciprocity, and the nature of self and other, especially as these themes are developed in Merleau-Ponty's The Visible and the invisible. The question they explore is whether the reversible alterity of sensing and being sensed, a theme at the heart of Merleau-Ponty's thought, is sufficient for understanding the alterity of other persons and of nature. Annotation copyrighted by Book News, Inc., Portland, OR
Connecting aesthetic experience with our experience of nature or with other cultural artifacts, Aesthetics as Phenomenology focuses on what art means for cognition, recognition, and affect—how art changes our everyday disposition or behavior. Günter Figal engages in a penetrating analysis of the moment at which, in our contemplation of a work of art, reaction and thought confront each other. For those trained in the visual arts and for more casual viewers, Figal unmasks art as a decentering experience that opens further possibilities for understanding our lives and our world.
In this study, Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they are able to emotionally affect us. He then applies these questions to painting, demonstrating that paintings beckon us to view their contents as real. What we visualise in paintings, he argues, is not simply in our heads but in our world. Paskow also situates the phenomenological approach to the experience of painting in relation to methodological assumptions and claims in analytic aesthetics as well as in contemporary schools of thought, particularly Marxist, feminist, and deconstructionist.
Forms of Life and Subjectivity: Rethinking Sartre’s Philosophy explores the fundamental question of why we act as we do. Informed by an ontological and phenomenological approach, and building mainly, but not exclusively, on the thought of Sartre, Daniel Rueda Garrido considers the concept of a "form of life” as a term that bridges the gap between subjective identity and communities. This first systematic ontology of "forms of life” seeks to understand why we act in certain ways, and why we cling to certain identities, such as nationalisms, social movements, cultural minorities, racism, or religion. The answer, as Rueda Garrido argues, depends on an understanding of ourselves as "forms of life” that remains sensitive to the relationship between ontology and power, between what we want to be and what we ought to be. Structured in seven chapters, Rueda Garrido’s investigation yields illuminating and timely discussions of conversion, the constitution of subjectivity as an intersubjective self, the distinction between imitation and reproduction, the relationship between freedom and facticity, and the dialectical process by which two particular ways of being and acting enter into a situation of assimilation-resistance, as exemplified by capitalist and artistic forms of life. This ambitious and original work will be of great interest to scholars and students of philosophy, social sciences, cultural studies, psychology and anthropology. Its wide-ranging reflection on the human being and society will also appeal to the general reader of philosophy.