Art and Experience
Clarifying the intricacies scholars face in understanding the concept of experience, this volume's broad approach makes it an invaluable contribution to the study of the humanities. Its uniqueness lies in its focusing on the manifold aspects of the concept rather than in drawing any singular, dogmatic conclusion about its nature and function. |
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Contents
Scientific Experience and Religious Experience | 1 |
Close Reading Distant Writing and the Experience of Language | 20 |
Experiencing Nature and Experiencing Art | 42 |
Experience as Art | 57 |
Pictorial Experience | 71 |
The Aesthetic Experience of Literature and Its Cognitive Value | 91 |
The Experience of Music | 109 |
Cognitivism and the Experience of Dance | 121 |
Aesthetic Experience and Experience of Art and Nature ARGUMENTS FROM INDIAN AESTHETICS | 144 |
Capture and Line of Flight THE EXPERIENCE OF PHOTOGRAPHY AND FILM | 159 |
SELECT BIBLIOGRAPHY | 178 |
AUTHORNAME INDEX | 187 |
Common terms and phrases
aesthetic experience appearance appreciation artistic artworks aspect audience beauty called Cambridge chapter character claim close cognitive communication conception consider course critical cultural dance Dewey direct discussion effect emotional ence evidence example exists experiencing explains expression fact fiction film follow function given gives human iconic idea imagination important intentional interest interpretation John kind knowledge language learning least less listener literary literature lives look matter meaning movement nature notes notion object observable painting particular Peirce perceptual performance person philosophical photographs physical play pleasure possible practice present properties proposition question reading reason refer regarding relation religious response seems sense sensory signified sort speaking suggest symbol theory things thought tion tradition trans true truth turn understanding University Press visual whole writing York
Popular passages
Page 95 - When shepherds pipe on oaten straws And merry larks are ploughmen's clocks, When turtles tread, and rooks, and daws, And maidens bleach their summer smocks The cuckoo then, on every tree, Mocks married men; for thus sings he, Cuckoo; Cuckoo, cuckoo...
Page 25 - I read the passage, all the familiar landmarks of my thought - our thought, the thought that bears the stamp of our age and our geography - breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continued long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other.
Page 25 - Chinese encyclopaedia' in which it is written that 'animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (1) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies'.
Page 23 - An Icon is a sign which refers to the Object that it denotes merely by virtue of characters of its own, and which it possesses, just the same, whether any such Object actually exists or not.
Page 77 - Thou shalt not make unto thee any graven image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. Thou shalt not bow down thyself to them, nor serve them...
Page xiii - I am deceived ; and, let him deceive me as he may, he can never bring it about that I am nothing, so long as I shall be conscious that I am something. So that it must, in fine, be maintained, all things being maturely and carefully considered, that this proposition (pronunciatum) I am, I exist, is necessarily true each time it is expressed by me or conceived in my mind.
Page 25 - In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that.
Page 79 - They paint stuffs and masonry, the green grass of the fields, the shadow of trees, and rivers and bridges, which they call landscapes, with many figures on this side and many figures on that. And all this, though it pleases some persons, is done without reason or art, without symmetry or proportion...
Page 78 - In short, so many and so marvellous are the varieties of divers shapes on every hand, that we are more tempted to read in the marble than in our books, and to spend the whole day in wondering at these things rather than in meditating the law of God. For God's sake, if men are not ashamed of these follies, why at least do they not shrink from the expense...
Bibliographic information
| Title | Art and Experience Studies in art, culture, and communities, ISSN 1541-003X |
| Editor | Ananta Charana Sukla |
| Publisher | Greenwood Publishing Group, 2003 |
| ISBN | 0275973948, 9780275973940 |
| Length | 202 pages |
| Subjects | › Art / Criticism & Theory |
| Export Citation | BiBTeX EndNote RefMan |