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For over half a century, the Middle East has been major migration
corridor for domestic workers from Asia and Africa. This book
Illuminates the multidimensionality of these workers' lives as they
engage in finding a balance between acting and being acted upon,
struggle and accommodation, and movement and stasis.
Narratives are artefacts of a special kind: they are intentionally
crafted devices which fulfil their story-telling function by
manifesting the intentions of their makers. But narrative itself is
too inclusive a category for much more to be said about it than
this; we should focus attention instead on the vaguely defined but
interesting category of things rich in narrative structure. Such
devices offer significant possibilities, not merely for the
representation of stories, but for the expression of point of view;
they have also played an important role in the evolution of
reliable communication. Narratives and narrators argues that much
of the pleasure of narrative communication depends on deep-seated
and early developing tendencies in human beings to imitation and to
joint attention, and imitation turns out to be the key to
understanding such important literary techniques as free indirect
discourse and character-focused narration. The book also examines
irony in narrative, with an emphasis on the idea of the expression
of ironic points of view. It looks closely at the idea of
character, or robust, situation-independent ways of acting and
thinking, as it is represented in narrative. It asks whether
scepticism about the notion of character should have us reassess
the dramatic and literary tradition which places such emphasis on
character.
This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film that have dominated discussion over the past twenty years. Professor Currie provides a general theory of pictorial narration and its interpretation in both pictorial and linguistic media, and concludes with an analysis of some ways in which film narrative and literary narrative differ.
Works of fiction are works of the imagination and for the
imagination. Gregory Currie energetically defends the familiar idea
that fictions are guides to the imagination, a view which has come
under attack in recent years. Responding to a number of challenges
to this standpoint, he argues that within the domain of the
imagination there lies a number of distinct and not well-recognized
capacities which make the connection between fiction and
imagination work. Currie then considers the question of whether in
guiding the imagination fictions may also guide our beliefs, our
outlook, and our habits in directions of learning. It is widely
held that fictions very often provide opportunities for the
acquisition of knowledge and of skills. Without denying that this
sometimes happens, this book explores the difficulties and dangers
of too optimistic a picture of learning from fiction. It is easy to
exaggerate the connection between fiction and learning, to ignore
countervailing tendencies in fiction to create error and ignorance,
and to suppose that claims about learning from fiction require no
serious empirical support. Currie makes a case for modesty about
learning from fiction - reasoning that a lot of what we take to be
learning in this area is itself a kind of pretence, that we are too
optimistic about the psychological and moral insights of authors,
that the case for fiction as a Darwinian adaptation is weak, and
that empathy is both hard to acquire and not always morally
advantageous.
The spirit that founded the volume and guided its development is
radically inter- and transdisciplinary. Dispatches have arrived
from anthropology, communications, English, film studies (including
theory, history, criticism), literary studies (including theory,
history, criticism), media and screen studies, cognitive cultural
studies, narratology, philosophy, poetics, politics, and political
theory; and as a special aspect of the volume, theorist-filmmakers
make their thoughts known as well. Consequently, the critical
reflections gathered here are decidedly pluralistic and
heterogeneous, inviting-not bracketing or partitioning-the dynamism
and diversity of the arts, humanities, social sciences, and even
natural sciences (in so far as we are biological beings who are
trying to track our cognitive and perceptual understanding of a
nonbiological thing-namely, film, whether celluloid-based or in
digital form); these disciplines, so habitually cordoned off from
one another, are brought together into a shared conversation about
a common object and domain of investigation. This book will be of
interest to theorists and practitioners of nonfiction film; to
emerging and established scholars contributing to the secondary
literature; and to those who are intrigued by the kinds of
questions and claims that seem native to nonfiction film, and who
may wish to explore some critical responses to them written in
engaging language.
Musical listening, looking at paintings and literary creation are
activities that involve perceptual and cognitive activity and so
are of interest to psychologists and other scientists of the mind.
What sorts of interest should philosophers of the arts take in
scientific approaches to such issues? Opinion currently ranges
across a spectrum, with 'take no notice' at one end and 'abandon
traditional philosophical methods' at the other. This collection of
essays, originating in a Royal Institute of Philosophy conference
at the Leeds Art Gallery in 2012, represents many of the most
interesting positions along that spectrum. Contributions address
issues concerning aesthetic testimony, the processing and
appreciation of poetry, the aesthetics of disgust, imagination,
genre, evolutionary constraints on art appreciation, creativity,
musical cognition and the limitations or productiveness of
empirical enquiry for philosophical aesthetics.
For over half a century, the Middle East has been major migration
corridor for domestic workers from Asia and Africa. This book
Illuminates the multidimensionality of these workers' lives as they
engage in finding a balance between acting and being acted upon,
struggle and accommodation, and movement and stasis.
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
and the text. This communicative model is then applied to the
following problems: how can something be 'true in the story'
without being explicitly stated in the text? In what ways does
interpreting a fictional story depend upon grasping its author's
intentions? Is there always a unique best interpretation of a
fictional text? What is the correct semantics for fictional names?
What is the nature of our emotional response to a fictional work?
In answering these questions the author explores the complex
interaction between author, reader, and text. This interaction
requires the reader to construct a 'fictional author' - a character
in the story whose personality, beliefs and emotional states must
be interpreted if the reader is to grasp the meaning of the work.
This is a book about the nature of film: about the nature of moving
images, about the viewer's relation to film, and about the kinds of
narrative that film is capable of presenting. It represents a very
decisive break with the semiotic and psychoanalytic theories of
film which have dominated discussion. The central thesis is that
film is essentially a pictorial medium and that the movement of
film images is real rather than illusory. A general theory of
pictorial representation is presented, which insists on the realism
of pictures and the impossibility of assimilating them to language.
It criticizes attempts to explain the psychology of film viewing in
terms of the viewer's imaginary occupation of a position within the
world of film. On the contrary, film viewing is nearly always
impersonal.
Imre Lakatos’ philosophical and scientific papers are published here in two volumes. Volume I brings together his very influential but scattered papers on the philosophy of the physical sciences, and includes one important unpublished essay on the effect of Newton’s scientific achievement. Volume 2 presents his work on the philosophy of mathematics (much of it unpublished), together with some critical essays on contemporary philosophers of science and some famous polemical writings on political and educational issues.
The spirit that founded the volume and guided its development is
radically inter- and transdisciplinary. Dispatches have arrived
from anthropology, communications, English, film studies (including
theory, history, criticism), literary studies (including theory,
history, criticism), media and screen studies, cognitive cultural
studies, narratology, philosophy, poetics, politics, and political
theory; and as a special aspect of the volume, theorist-filmmakers
make their thoughts known as well. Consequently, the critical
reflections gathered here are decidedly pluralistic and
heterogeneous, inviting-not bracketing or partitioning-the dynamism
and diversity of the arts, humanities, social sciences, and even
natural sciences (in so far as we are biological beings who are
trying to track our cognitive and perceptual understanding of a
nonbiological thing-namely, film, whether celluloid-based or in
digital form); these disciplines, so habitually cordoned off from
one another, are brought together into a shared conversation about
a common object and domain of investigation. This book will be of
interest to theorists and practitioners of nonfiction film; to
emerging and established scholars contributing to the secondary
literature; and to those who are intrigued by the kinds of
questions and claims that seem native to nonfiction film, and who
may wish to explore some critical responses to them written in
engaging language.
This text develops a philosophical theory of imagination that draws
upon the latest work in psychology. This theory illuminates the use
of imagination in coming to terms with art, its role in enabling us
to live as social beings, and the psychological consequences of
disordered imagination. Currie and Ravenscroft offer a lucid
exploration of the subject for readers in philosophy, psychology
and aesthetics.
Lakatos, who died in 1974, was one of the outstanding younger philosophers of science. Volume 1 of this anthology offers papers on the physical sciences, including a previously unpublished essay on Newton. Volume 2 brings together work, much unpublished, on mathematics, together with critical essays on contemporary philosophy and some famous polemical writings on political and educational topics.
Narratives are artefacts of a special kind: they are intentionally
crafted devices which fulfil their story-telling function by
manifesting the intentions of their makers. But narrative itself is
too inclusive a category for much more to be said about it than
this; we should focus attention instead on the vaguely defined but
interesting category of things rich in narrative structure. Such
devices offer significant possibilities, not merely for the
representation of stories, but for the expression of point of view;
they have also played an important role in the evolution of
reliable communication. Narratives and narrators argues that much
of the pleasure of narrative communication depends on deep-seated
and early developing tendencies in human beings to imitation and to
joint attention, and imitation turns out to be the key to
understanding such important literary techniques as free indirect
discourse and character-focused narration. The book also examines
irony in narrative, with an emphasis on the idea of the expression
of ironic points of view. It looks closely at the idea of
character, or robust, situation-independent ways of acting and
thinking, as it is represented in narrative. It asks whether
scepticism about the notion of character should have us reassess
the dramatic and literary tradition which places such emphasis on
character.
Philosophical questions about the arts go naturally with other
kinds of questions about them. Art is sometimes said to be an
historical concept. But where in our cultural and biological
history did art begin? If art is related to play and imagination,
do we find any signs of these things in our nonhuman relatives?
Sometimes the other questions look like ones the philosopher of art
has to answer. Anyone who thinks that interpretation in the arts is
an activity that leaves the intentions of the author behind needs
to explain how and why this differs so fundamentally from ordinary
conversational interpretation, where the only decent models we have
are ones that depend crucially on the recovery of intention. Anyone
who thinks that imaginative literature has anything to tell us
about time had better have a position on how earlier and later
relate to past and future. Anyone who thinks that empathy plays a
role in literary engagement had better have a psychologically
plausible account of what empathy is.
Philosophical questions about the arts also go naturally with other
kinds of philosophical questions: we can't think constructively
about representation in art without thinking about representation;
text, meaning, reference and existence get similarly drawn into the
conversation. Some ideas that philosophers of art deal with emerge
from other disciplines. In literary theory an enormous amount of
attention has been lavished on tracing the sources of unreliability
in narrative. Is the result adequate to the details of the
particular works we call unreliable? Contemporary film theory is
generally hostile to the fiction/documentary distinction. Are there
in fact any grounds for this?
This book of thirteen connected essays examines questions of all
these kinds. It ranges from the semantics of proper names, through
the pragmatics of literary and filmic interpretation, to the
aesthetic function of stone age implements. Some of the essays have
not been published before; some that have are here substantially
revised.
Works of fiction are works of the imagination and for the
imagination. Gregory Currie energetically defends the familiar idea
that fictions are guides to the imagination, a view which has come
under attack in recent years. Responding to a number of challenges
to this standpoint, he argues that within the domain of the
imagination there lies a number of distinct and not well-recognized
capacities which make the connection between fiction and
imagination work. Currie then considers the question of whether in
guiding the imagination fictions may also guide our beliefs, our
outlook, and our habits in directions of learning. It is widely
held that fictions very often provide opportunities for the
acquisition of knowledge and of skills. Without denying that this
sometimes happens, this book explores the difficulties and dangers
of too optimistic a picture of learning from fiction. It is easy to
exaggerate the connection between fiction and learning, to ignore
countervailing tendencies in fiction to create error and ignorance,
and to suppose that claims about learning from fiction require no
serious empirical support. Currie makes a case for modesty about
learning from fiction-reasoning that a lot of what we take to be
learning in this area is itself a kind of pretence, that we are too
optimistic about the psychological and moral insights of authors,
that the case for fiction as a Darwinian adaptation is weak, and
that empathy is both hard to acquire and not always morally
advantageous.
Royal Society, betrachtet die Hexentheorie als das Musterbeispiel
empirischen Denkens. Wir mussen das empirische Denken definieren,
ehe wir mit Hume anfangen, Bucher zu verbren nen. Das
wissenschaftliche Denken konfrontiert die Theorien mit den
Tatsachen; und eine der Hauptbedingungen dabei ist, dass die
Theorien von den Tatsachen gestutzt sein mus sen. Wie ist das nun
des genaueren moglich? Darauf sind mehrere verschiedene Antworten
vorgeschlagen worden. Newton selbst glaubte, seine Gesetze
aufgrundder Tatsachen bewiesen zu haben. Er war stolz darauf, keine
blossen Hypothesen anzubieten; er veroffentlichte nur Theorien, die
aufgrundder Tatsa chen bewiesen waren. Und zwar behauptete er,
seine Gesetze aus den Keplerschen 'Erschei nungen' abgeleitet zu
haben. Doch das war Unsinn, denn nach Kepler bewegten sich die
Plane ten in Ellipsen, nach Newton aber ware das nur richtig, wenn
die Planeten nicht gegenseitig ihre Bewegung storen wurden, und
eben dies tun sie. Daher musste Newton eine Storungstheo rie
entwickeln, nach der sich kein Planet auf einer Ellipse bewegt.
Heute kann man leicht zeigen, dass sich kein Naturgesetz aus
endlich vielen Tatsa chen schlussig ableiten lasst; doch man liest
immer noch, wissenschaftliche Theorien wurden aufgrundder Tatsachen
bewiesen. Woher kommt diese hartnackige Sperre gegen die elemen
tare Logik? Das lasst sich sehr einleuchtend erklaren. Die
Wissenschaftler mochten ihren Theorien Achtung verschaffen, sie
sollen die Bezeichnung 'Wissenschaft' verdienen, also echte
Erkenntnis sein. Nun bezog sich im 17. Jahrhundert, als die
Wissenschaft entstand, die wichtigste Erkenntnis auf Gott und den
Teufel, auf Himmel und Holle."
Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. Currie and Ravenscroft offer a lucid exploration of a fascinating subject, for readers in philosophy, psychology, and aesthetics.
The concept of mimesis has been central to philosophical aesthetics
from Aristotle to Kendall Walton: in plain terms, it highlights the
links between a fictional world or a representational practice on
the one hand and the real world on the other. The present
collection of essays includes discussions of its general viability
and pertinence and of its historical origins, as well as detailed
analyses of various relevant issues regarding literature, film,
theatre, images and computer games. The individual papers offer new
arguments for the specialist, yet in their sum also provide a solid
and helpful survey of the current state of the debate.
Contributions by P. Alward, G. Currie, D. Davies, L. Dole el, J.
Hamilton, T. Kobli ek, P. Kot'atko, A. Kuzmicova, J. Levinson, A.
Meskin, A. Pettersson, M. Pokorny, J. Robson, G. Rossholm, R. M.
Sainsbury, F. Stjernberg, E. Terrone, K. Thein, A. Voltolini.
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