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Modeling the Meanings of Pictures: Depiction and the philosophy of language [Hardback]

(Associate Professor of Philosophy, Dartmouth University, USA)
  • Formāts: Hardback, 176 pages, height x width x depth: 223x147x16 mm, weight: 354 g
  • Izdošanas datums: 04-Sep-2020
  • Izdevniecība: Oxford University Press
  • ISBN-10: 0198847475
  • ISBN-13: 9780198847472
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  • Cena: 98,93 €
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  • Formāts: Hardback, 176 pages, height x width x depth: 223x147x16 mm, weight: 354 g
  • Izdošanas datums: 04-Sep-2020
  • Izdevniecība: Oxford University Press
  • ISBN-10: 0198847475
  • ISBN-13: 9780198847472
Citas grāmatas par šo tēmu:
John Kulvicki offers an account of the many ways in which pictures can be meaningful which is inspired by the philosophy of language. Pictures are important parts of communicative acts, along with language, gesture, facial expressions, and props. They express wide ranges of thoughts, make assertions, offer warnings, instructions, and commands. Pictures are also representations. They have meanings, which help explain the range of communicative uses to which they can be put. Modelling the meanings of pictures is accounting for the ways in which pictures manage to be meaningful, with an eye toward how those meanings let us use them as we do.

By framing pictures with the philosophy of language, we acquire new perspectives on the many things we can do with them. Sometimes, pictures are used as descriptions--he looks like this!--while sometimes they are used more like singular terms--find him!, while showing a mug shot. Most picture-making cultures also have iconographies, but this is usually put to one side in discussions of pictures, if it is mentioned at all. Likewise, some uses of pictures, especially in advertising, are metaphorical, and very little has been said about metaphor in pictures. Pictures are also related in important ways to other kinds of representations like maps, and this book provides a new way of understanding what makes them alike and different. By showing that pictures are very different from languages, this book also shows that the tools developed with language in mind are not actually specific to linguistic phenomena.
Preface and Acknowledgments ix
List of Figures
xi
List of Tables
xiii
1 Pictures, Communication, and Meaning
1(18)
1.1 Pictures and Language
2(4)
1.2 The Structure of the Book
6(1)
1.3 The Meaning Thread
7(7)
1.4 The Parts Thread
14(3)
1.5 What This Book is Not
17(2)
2 Character, Content, and Reference
19(18)
2.1 Kaplan's Distinctions
20(2)
2.2 Interpreting Pictures
22(3)
2.3 Bare Bones Content as Pictorial Character
25(3)
2.4 Pictorial Content
28(4)
2.5 (In)definite Description and Reference
32(2)
2.6 Worries about Indirect Pictorial Reference
34(1)
2.7 Summary
35(2)
3 Parts of Pictures
37(16)
3.1 Syntax Without (Much) Grammar
38(1)
3.2 Abstraction and Content
39(4)
3.3 Two Clarifying Objections
43(2)
3.4 The Parts Principle
45(3)
3.5 Syntactic Parts and Semantic Roles
48(2)
3.6 Revisiting Indirect Pictorial Reference
50(1)
3.7 Summary
51(2)
4 Pictorial Dthat
53(25)
4.1 Attributive and Referential Use
53(2)
4.2 Using Pictures Referentially
55(1)
4.3 Dthat
56(2)
4.4 Referential Use as Dthat
58(3)
4.5 Worries about Deferred Ostention
61(4)
4.6 Postcards and Portraits
65(8)
4.7 Using Parts of Pictures Referentially
73(1)
4.8 Individuals and Properties in Other Accounts
74(3)
4.9 Summary
77(1)
5 Iconography
78(21)
5.1 Introducing Iconography
79(4)
5.2 A Semantic Mechanism
83(3)
5.3 Labeling
86(2)
5.4 Stories
88(5)
5.5 The Practicalities of Iconography
93(1)
5.6 Uses of Iconographic Interpretation
94(2)
5.7 Iconographic Interpretation in Language?
96(2)
5.8 Summary
98(1)
6 Metaphor
99(19)
6.1 Illustrated, Suggested, and Supplemental Metaphors
100(3)
6.2 Some Non-metaphorical, Atypical Uses of Pictures
103(3)
6.3 Strictly Pictorial Metaphors
106(4)
6.4 Stern on Mthat
110(3)
6.5 Mthat and Strictly Pictorial Metaphors
113(2)
6.6 Stern's Worries about Metaphor in Pictures
115(2)
6.7 Summary
117(1)
7 Direct Reference in Pictures and Maps
118(13)
7.1 Presence in Photographs and Maps
119(1)
7.2 How Objects are Involved
120(2)
7.3 Two Worries about Locations as Names
122(1)
7.4 Absence and Map Semantics
123(3)
7.5 Why Maps Have Constant Characters
126(1)
7.6 The Path from Pictures to Comics to Maps
127(2)
7.7 Summary
129(2)
8 Distinguishing Kinds by Parts
131(20)
8.1 Syntax and Compositionality
132(1)
8.2 Separable Syntactic Parts
133(2)
8.3 Inseparable Syntactic Parts
135(1)
8.4 The Main Claim
136(1)
8.5 Three Objections to the Main Claim
137(1)
8.6 Why the Objections Fail
138(6)
8.7 Compositionality and Inseparability
144(2)
8.8 Why Non-propositional?
146(2)
8.9 Summary
148(3)
References 151(6)
Index 157
John Kulvicki received his PhD from the University of Chicago and worked at Washington University in St Louis and Carleton University before coming to Dartmouth. He writes on the philosophy of perception and philosophy of art.