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0 (hodnocen0 x )

EB

ONLINE

Cham : Springer International Publishing AG, 2015

1 online resource (261 pages)

ISBN 9783319140902 (electronic bk.)

ISBN 9783319140896

Contributions to Phenomenology Ser. ; v.81

Print version: Bundgaard, Peer F. Investigations into the Phenomenology and the Ontology of the Work of Art Cham : Springer International Publishing AG,c2015 ISBN 9783319140896

Intro -- Contents -- Introduction -- References -- Temporal Aspects of Literary Reading -- 1 Introduction -- 2 No Habituation -- 3 Intentionality Deferred -- 4 Thwarting of Prototypical Feeling -- 5 Bodily Alertness Underlies Representation -- 6 Animacy of Events and Objects -- 7 Sequence Issues -- References -- Memory and Mental States in the Appreciation of Literature -- 1 Introduction -- 2 Literary Studies -- 3 Evidence on Memory for Text -- 4 Text Processing in Context -- 5 Evidence on Mind Wandering and Engagement -- 5.1 Method -- 5.2 Results -- 5.3 Discussion -- 6 Conclusions -- References -- Temporal Conflict in the Reading Experience -- 1 Introduction -- 2 Presentation of Literary Artworks and the Reader’s Temporal Perspective -- 3 Temporal Perspective in Memory -- 4 Temporal Perspective in Literature -- 5 Temporal Conflict in the Reading Experience: The Example of the Pseudo-Iterative -- 5.1 Flaubert’s Eternel Imparfait -- 5.2 Kafka’s Eternal Present -- 6 Conclusion -- References -- The Aesthetic Experience with Visual Art "At First Glance" -- 1 The Painting Gist -- 2 Early Investigations of the Nature of the Painting Gist -- 3 Pre-attentive Detection of the Collative Properties of Paintings -- 4 Pictorial Balance-A Perceptual Primitive -- 5 Meaningfulness Is Detectable in Painting Gist Perception -- 6 Categorization of a Painting’s Content and Style at First Glance -- 7 Perceptual Processing of Paintings Across the Time-Course of an Aesthetic Experience -- 8 Conclusions -- References -- What Is a Surface? In the Real World? And Pictures? -- 1 Real Surfaces -- 2 Information and Surfaces -- 3 The Surface in the History of Perception Science -- 4 Perception and Elevation and Azimuth -- 5 Perception’s Biases and Far Surfaces -- 6 Theories of Biases -- 7 Bias on a Picture Surface -- 8 Conclusion -- References.

1.1 The Appropriation of Statements as a Semiotic Practice -- 1.2 Genetic Aesthetics and Instituted Aesthetics -- 2 The Functional Space of the Work -- 2.1 Focusing the Attention -- 2.1.1 Sensory Contrasts and Barysemy -- 2.1.2 Expectations and Semiotization -- 2.2 Artifacts -- 2.2.1 A General Theory of the Index -- 2.2.2 Index and Appropriation -- 2.3 Contextualization -- 2.4 Stylistic and Rhetoric of the Indexation -- 3 Strategies of Positioning: Four Configurations -- 4 Appropriation and Catasemiosis -- 5 Conclusion: From Semiotics to Aesthetics? -- References -- Sculpture, Diagram, and Language in the Artwork of Joseph Beuys -- 1 Introduction -- 2 Context and Development of Beuys’ Artwork -- 3 Materials and Techniques in Beuys’ Artwork -- 4 Visual Artwork and Language -- 5 Language as a Topic in His Visual Art -- 6 Diagrammatic Style in Beuys’ Political Art -- 7 Beuys’ Diagrams and Peirce’s Theory of Diagrams -- 8 The Aesthetic "Value" of Beuys’ Art -- 9 Conclusion -- References -- Internet Sources with Actions and Discussions -- Index.

The Idiosyncrasy of Beauty: Aesthetic Universals and the Diversity of Taste -- 1 Aesthetic Universals: Some Initial Issues -- 2 Three Meanings of "Beauty" -- 3 Aesthetic Response and Idiosyncrasy (I): Pattern Recognition and Endogenous Reward -- 4 Aesthetic Response and Idiosyncrasy (II): Prototype Approximation and Attachment -- 5 Conclusion -- References -- Why We Are Not All Novelists -- 1 Two Experiments from Stanford -- 2 The Phenomenology of Multiple Realities -- 3 Delusions -- 4 Delusion as an Alternative Reality -- 5 Welcome to the Hotel California -- 6 Why Everyone Is Not a Novelist -- References -- Aesthetic Relationship, Cognition, and the Pleasures of Art -- 1 Aesthetic Experience: A Preliminary Definition -- 2 The Artist and the Connoisseur -- 3 Aesthetic Attention -- 4 The Hedonic Component -- 5 Some Concluding Remarks -- References -- More Seeing-in: Surface Seeing, Design Seeing, and Meaning Seeing in Pictures -- 1 Preamble -- 2 The Strata of Artwork and Their Perceptual Correlates -- 2.1 Surface and Surface Seeing -- 2.2 Design and Design Seeing -- 2.3 Seeing-in and Design, Seeing-in and Surface -- 2.4 Seeing Something in Walls and Seeing Something in Paintings -- 2.4.1 Seeing-in and Awareness of the Depicting Surface -- 2.5 Surface Perception and Design Perception -- 2.6 Surface as Material Support vs. Surface as a Depicting Plane -- 2.7 Object Awareness -- 3 Multiply Depicting Design and Semiotic Design -- 3.1 Design That Depicts Multiple Objects -- 3.2 Design as a Platform for Meaning-Making -- 4 Conclusion -- References -- Depiction -- References -- Green War Banners in Central Copenhagen: A Recent Political Struggle Over Interpretation-And Some Implications for Art Interpretation as Such -- References -- The Appropriation of the Work of Art as a Semiotic Act -- 1 Two Methodological (or Epistemological) Preconditions.

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(OCoLC)1231610994