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Canny resemblance

Philosophical Review 118 (2):183-223 (2009)

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  1. (4 other versions)Naming and Necessity.S. Kripke - 1972 - Tijdschrift Voor Filosofie 45 (4):665-666.
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  • (4 other versions)Naming and Necessity.Saul Kripke - 1980 - Philosophy 56 (217):431-433.
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  • (6 other versions)Convention: A Philosophical Study.David Lewis - 1969 - Synthese 26 (1):153-157.
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  • (2 other versions)Spreading the Word: Groundings in the Philosophy of Language.Simon Blackburn - 1984 - Mind 94 (374):310-319.
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  • (1 other version)Understanding Pictures.Domenic Lopes - 2000 - Mind 109 (433):158-162.
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  • (4 other versions)Naming and Necessity.Saul Kripke - 1980 - Critica 17 (49):69-71.
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  • The Nature of Fiction.Gregory Currie - 1990 - Cambridge University Press.
    This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...)
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  • Picture, Image and Experience: A Philosophical Inquiry.Robert Hopkins - 1998 - New York: Cambridge University Press.
    How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...)
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  • Convention: A Philosophical Study.David Kellogg Lewis - 1969 - Cambridge, MA, USA: Wiley-Blackwell.
    _ Convention_ was immediately recognized as a major contribution to the subject and its significance has remained undiminished since its first publication in 1969. Lewis analyzes social conventions as regularities in the resolution of recurring coordination problems-situations characterized by interdependent decision processes in which common interests are at stake. Conventions are contrasted with other kinds of regularity, and conventions governing systems of communication are given special attention.
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  • Thoughts and Utterances: The Pragmatics of Explicit Communication.Robyn Carston (ed.) - 2002 - Oxford: Blackwell.
    _Thoughts and Utterances_ is the first sustained investigation of two distinctions which are fundamental to all theories of utterance understanding: the semantics/pragmatics distinction and the distinction between what is explicitly communicated and what is implicitly communicated.
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  • Spreading the world.Simon Blackburn - 1986 - Revue Philosophique de la France Et de l'Etranger 176 (3):385-387.
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  • (6 other versions)Logic and Conversation.H. Paul Grice - 2013 - In Maite Ezcurdia & Robert J. Stainton (eds.), The Semantics-Pragmatics Boundary in Philosophy. Peterborough, CA: Broadview Press. pp. 47.
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  • Real space and represented space: Cross-cultural perspectives.J. B. Deregowski - 1989 - Behavioral and Brain Sciences 12 (1):51-74.
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  • Sight and Sensibility: Evaluating Pictures.Dominic Lopes - 2005 - Oxford, GB: Oxford University Press.
    Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book (...)
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  • (1 other version)Spreading the Word: Groundings in the Philosophy of Language.Simon Blackburn - 1984 - Clarendon Press.
    Provides a comprehensive introduction to the major philosophical theories attempting to explain the workings of language.
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  • Relevance: Communication and Cognition.Dan Sperber & Deirdre Wilson - 1986/1995 - Oxford: Blackwell.
    This revised edition includes a new Preface outlining developments in Relevance Theory since 1986, discussing the more serious criticisms of the theory, and ...
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  • (1 other version)Languages of Art: An Approach to a Theory of Symbols.Nelson Goodman - 1968 - Indianapolis,: Bobbs-Merrill.
    . . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.
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  • Meaning.Stephen R. Schiffer - 1972 - Oxford,: Clarendon Press.
    What is it for marks or sounds to have meaning, and what is it for someone to mean something in producing them? Answering these and related questions, Schiffer explores communication, speech acts, convention, and the meaning of linguistic items in this reissue of a seminal work on the foundations of meaning. A new introduction takes account of recent developments and places his theory in a broader context.
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  • Understanding pictures.Dominic Lopes - 1996 - New York: Oxford University Press.
    There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...)
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  • Depiction.Christopher Peacocke - 1987 - Philosophical Review 96 (3):383-410.
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  • Explaining depiction.Robert Hopkins - 1995 - Philosophical Review 104 (3):425-455.
    An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...)
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  • Resemblance and misrepresentation.Robert Hopkins - 1994 - Mind 103 (412):421-438.
    One problem faced by resemblance views of depiction is posed by the misrepresentation. Another is to specify the respect in which pictures resemble their objects. To isolate the first, I discuss resemblance in the context of sculpture, where the solution to the second is, prima facie, obvious. The point of appealing to resemblance is to explain how the representation has the content it does. In the case of misrepresenting sculptures, this means appealing to resemblance, not between the sculpture and the (...)
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  • (1 other version)Meaning.Herbert Paul Grice - 1957 - Philosophical Review 66 (3):377-388.
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  • Pictorial implicature.Catharine Abell - 2005 - Journal of Aesthetics and Art Criticism 63 (1):55–66.
    It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...)
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  • Naming and Necessity: Lectures Given to the Princeton University Philosophy Colloquium.Saul A. Kripke - 1980 - Cambridge, MA: Harvard University Press. Edited by Darragh Byrne & Max Kölbel.
    A transcript of three lectures, given at Princeton University in 1970, which deals with (inter alia) debates concerning proper names in the philosophy of language.
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  • (4 other versions)Naming and Necessity.Saul Kripke - 2003 - In John Heil (ed.), Philosophy of Mind: A Guide and Anthology. New York: Oxford University Press.
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  • (6 other versions)Logic and Conversation.H. Paul Grice - 1975 - In Donald Davidson (ed.), The logic of grammar. Encino, Calif.: Dickenson Pub. Co.. pp. 64-75.
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  • (2 other versions)Languages of Art.Nelson Goodman - 1970 - Philosophy and Rhetoric 3 (1):62-63.
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  • (5 other versions)Meaning.Stephen Schiffer - 1972 - Philosophy 51 (195):102-109.
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  • Thoughts and Utterances: The Pragmatics of Explicit Communication. [REVIEW]Anne Bezuidenhout - 2005 - Mind 114 (455):722-728.
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  • The Nature of Fiction.Susan L. Feagin - 1992 - Philosophical Review 101 (4):948.
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  • Against Depictive Conventionalism.Catharine Abell - 2005 - American Philosophical Quarterly 42 (3):185 - 197.
    In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then argue that two considerations jointly (...)
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  • Pragmatics, Modularity and Mind‐reading.Dan Sperber & Deirdre Wilson - 2002 - Mind and Language 17 (1-2):3–23.
    The central problem for pragmatics is that sentence meaning vastly underdetermines speaker’s meaning. The goal of pragmatics is to explain how the gap between sentence meaning and speaker’s meaning is bridged. This paper defends the broadly Gricean view that pragmatic interpretation is ultimately an exercise in mind-reading, involving the inferential attribution of intentions. We argue, however, that the interpretation process does not simply consist in applying general mind-reading abilities to a particular (communicative) domain. Rather, it involves a dedicated comprehension module, (...)
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  • Understanding Pictures.Daniel Herwitz - 1999 - Journal of Aesthetics and Art Criticism 57 (3):385-388.
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  • Sight and Sensibility: Evaluating Pictures edited by lopes, dominic mciver.Mark Rollins - 2006 - Journal of Aesthetics and Art Criticism 64 (4):479-481.
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  • (1 other version)Understanding Pictures.Dominic Lopes - 1999 - Philosophical Quarterly 49 (196):398-400.
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  • Pictures, colour and resemblance.Michael Newall - 2006 - Philosophical Quarterly 56 (225):587–595.
    Resemblances between colour pictures and their subject-matter can be identified. I use insights from perceptual psychology to develop a description of these shared colour properties. While resemblances do exist, they do not support resemblance theories of depiction. Instead, the character of these resemblances is determined by the construction of our visual system, and is not necessary for depiction. These results support a theory of depiction which holds that our abilities of visual recognition are crucial to our ability to understand pictures.
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  • (5 other versions)Meaning.Stephen R. Schiffer - 1973 - Revue Philosophique de la France Et de l'Etranger 163:478-479.
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  • Relevance.D. Sperbcr & I. Wilson - forthcoming - Communication and Cognition: An Interdisciplinary Quarterly Journal.
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  • Spreading the Word. [REVIEW]Kent Bach - 1987 - Philosophical Review 96 (1):120.
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  • Philosophical abstracts.Moral Conventionalism - 1985 - American Philosophical Quarterly 22 (1):915-933.
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  • The Objective Eye: Color, Form, and Reality in the Theory of Art.John Hyman - 2006 - University of Chicago Press.
    “The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...)
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  • The Nature of Fiction.Peter Lamarque - 1993 - Philosophical Quarterly 43 (171):253-256.
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  • (2 other versions)Spreading the Word: Groundings in the Philosophy of Language.Simon Blackburn - 1984 - British Journal for the Philosophy of Science 36 (2):211-215.
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  • Relevance.D. Sperber & Deirdre Wilson - 1986 - Communication and Cognition: An Interdisciplinary Quarterly Journal 2.
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