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  1. Picture, Image and Experience. [REVIEW]Sonia Sedivy - 2001 - Philosophical Review 110 (3):472-475.
    Robert Hopkins’s Picture, Image and Experience aims to provide an account of pictorial representation that vindicates the intuitions of the many, namely that pictorial representation is a deeply visual phenomenon, that an explanation of pictorial representation needs to be based on an explanation of our experience of pictures, and that there must be some sense in the idea that pictures resemble their objects. Hopkins proposes that we can show what is correct in these intuitions by explaining pictures as representations that (...)
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  • Convention: A Philosophical Study.David K. Lewis - 1969 - 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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  • Languages and Language.David K. Lewis - 1975 - In Keith Gunderson (ed.), Minnesota Studies in the Philosophy of Science. University of Minnesota Press. pp. 3-35.
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  • Imagination and Convention: Distinguishing Grammar and Inference in Language.Ernie Lepore & Matthew Stone - 2014 - Oxford University Press.
    How do hearers manage to understand speakers? And how do speakers manage to shape hearers' understanding? Lepore and Stone show that standard views about the workings of semantics and pragmatics are unsatisfactory. They advance an alternative view which better captures what is going on in linguistic communication.
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  • Logics of Conversation.Nicholas Asher & Alex Lascarides - 2003 - Cambridge University Press.
    People often mean more than they say. Grammar on its own is typically insufficient for determining the full meaning of an utterance; the assumption that the discourse is coherent or 'makes sense' has an important role to play in determining meaning as well. Logics of Conversation presents a dynamic semantic framework called Segmented Discourse Representation Theory, or SDRT, where this interaction between discourse coherence and discourse interpretation is explored in a logically precise manner. Combining ideas from dynamic semantics, commonsense reasoning (...)
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  • Convention: A Philosophical Study.David K. Lewis - 1971 - Philosophy and Rhetoric 4 (2):137-138.
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  • Demonstratives: An Essay on the Semantics, Logic, Metaphysics and Epistemology of Demonstratives and Other Indexicals.David Kaplan - 1989 - In Joseph Almog, John Perry & Howard Wettstein (eds.), Themes From Kaplan. Oxford University Press. pp. 481-563.
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  • Pictures, Perspective and Possibility.Ben Blumson - 2010 - Philosophical Studies 149 (2):135 - 151.
    This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.
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  • Image and Mind: Film, Philosophy, and Cognitive Science.Gregory Currie - 1998 - Philosophical Quarterly 48 (190):127-129.
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  • A Formal Semantic Analysis of Gesture.A. Lascarides & M. Stone - 2009 - Journal of Semantics 26 (4):393-449.
    The gestures that speakers use in tandem with speech include not only conventionalized actions with identifiable meanings (so-called narrow gloss gestures or emblems) but also productive iconic and deictic gestures whose form and meanings seem largely improvised in context. In this paper, we bridge the descriptive tradition with formal models of reference and discourse structure so as to articulate an approach to the interpretation of these productive gestures. Our model captures gestures' partial and incomplete meanings as derived from form and (...)
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  • Logic and Conversation.H. Paul Grice - 1975 - In Maite Ezcurdia & Robert J. Stainton (eds.), The Semantics-Pragmatics Boundary in Philosophy. Broadview Press. pp. 47.
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  • The Objective Eye: Color, Form, and Reality in the Theory of Art.Zed Adams - 2007 - Journal of Aesthetics and Art Criticism 65 (4):417-419.
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  • The Philosophy of Motion Pictures.Katherine Thomson-Jones - 2008 - Journal of Aesthetics and Art Criticism 66 (4):401-403.
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  • Narration in Light: Studies in Cinematic Point of View.Jerrold Levinson - 1989 - Journal of Aesthetics and Art Criticism 47 (3):290-292.
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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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  • Relevance: Communication and Cognition.Dan Sperber & Deirdre Wilson - 1986 - Oxford: Blackwell.
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  • Convention: A Philosophical Study. [REVIEW]J. E. Llewelyn - 1970 - Philosophical Quarterly 20 (80):286-287.
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  • The Problem of Lexical Innovation.Josh Armstrong - 2016 - Linguistics and Philosophy 39 (2):87-118.
    In a series of papers, Donald Davidson :3–17, 1984, The philosophical grounds of rationality, 1986, Midwest Stud Philos 16:1–12, 1991) developed a powerful argument against the claim that linguistic conventions provide any explanatory purchase on an account of linguistic meaning and communication. This argument, as I shall develop it, turns on cases of what I call lexical innovation: cases in which a speaker uses a sentence containing a novel expression-meaning pair, but nevertheless successfully communicates her intended meaning to her audience. (...)
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  • Assertion.Robert Stalnaker - 1978 - Syntax and Semantics (New York Academic Press) 9:315-332.
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  • Picture, Image and Experience: A Philosophical Inquiry.Robert Hopkins - 1998 - 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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  • Image and Mind: Film, Philosophy, and Cognitive Science.Gregory Currie - 1995 - Philosophy 71 (278):617-622.
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  • The Long Goodbye: The Imaginary Language of Film.Gregory Currie - 1993 - British Journal of Aesthetics 33 (3):207-219.
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  • Coherence and Coreference.Jerry R. Hobbs - 1979 - Cognitive Science 3 (1):67-90.
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  • The Logical Structure of Pictorial Representation.Robert Howell - 1974 - Theoria 40 (2):76-109.
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  • A Theory of Semiotics.Umberto Eco - 1977 - Philosophy and Rhetoric 10 (3):214-216.
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  • The Philosophy of Motion Pictures.NoË Carroll & L. - 2007 - Wiley-Blackwell.
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  • Assertion.Robert C. Stalnaker - 1978 - In Maite Ezcurdia & Robert J. Stainton (eds.), The Semantics-Pragmatics Boundary in Philosophy. Broadview Press. pp. 179.
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  • Connectives.Caterina Mauri & Johan van der Auwera - 2012 - In Keith Allan & Kasia Jaszczolt (eds.), Cambridge Handbook of Pragmatics. Cambridge University Press.
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  • Handbook of Semiotics.Winfried Nöth - 1996 - Tijdschrift Voor Filosofie 58 (2):395-396.
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  • Seeing Fictions in Film: The Epistemology of Movies.George M. Wilson - 2011 - Oxford University Press.
    In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are usually prompted (...)
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  • The Semantics of Media.Jeff Ross - 1997
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  • Film Language: A Semiotics of the Cinema.Christian Metz - 1974 - University of Chicago Press.
    A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to (...)
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  • Discourse Coherence and Gesture Interpretation.Alex Lascarides & M. Stone - manuscript
    In face-to-face interaction, speakers make multimodal contributions that exploit both the linguistic resources of spoken language and the visual and spatial affordances of gesture. In this paper, we argue that, in formulating and understanding such multimodal contributions, interlocutors apply the same principles of coherence that characterize the interpretation of natural language discourse. In particular, we use a close analysis of a series of naturally-occurring embodied discourses to argue for two key generalizations. First, communicators and their audiences draw on coherence relations (...)
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