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Seeing-in and seeming to see

Analysis 72 (4):650-659 (2012)

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  1. The Imaginary: A Phenomenological Psychology of the Imagination.Jean-Paul Sartre - 2004 - New York: Routledge. Edited by Arlette Elkaïm-Sartre.
    A cornerstone of Sartre’s philosophy, _The Imaginary_ was first published in 1940. Sartre had become acquainted with the philosophy of Edmund Husserl in Berlin and was fascinated by his idea of the 'intentionality of consciousness' as a key to the puzzle of existence. Against this background, _The Imaginary_ crystallized Sartre's worldview and artistic vision. The book is an extended examination of the concepts of nothingness and freedom, both of which are derived from the ability of consciousness to imagine objects both (...)
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  • The Imaginary: A Phenomenological Psychology of the Imagination.Jean-Paul Sartre - 2004 - New York: Routledge. Edited by Arlette Elkaïm-Sartre.
    A cornerstone of Sartre’s philosophy, _The Imaginary_ was first published in 1940. Sartre had become acquainted with the philosophy of Edmund Husserl in Berlin and was fascinated by his idea of the 'intentionality of consciousness' as a key to the puzzle of existence. Against this background, _The Imaginary_ crystallized Sartre's worldview and artistic vision. The book is an extended examination of the concepts of nothingness and freedom, both of which are derived from the ability of consciousness to imagine objects both (...)
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  • Heavenly Sight and the Nature of Seeing-In.John Kulvicki - 2009 - Journal of Aesthetics and Art Criticism 67 (4):387-397.
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  • Art and Illusion: A Study in the Psychology of Pictorial Representation.Ernst Hans Gombrich - 1960 - Phaidon.
    The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.
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  • Inflected Pictorial Experience: Its Treatment and Significance.Robert Hopkins - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press. pp. 151.
    Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...)
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