Titlebook: Investigations Into the Phenomenology and the Ontology of the Work of Art; What are Artworks an Peer F. Bundgaard,Frederik Stjernfelt Book‘

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背書

LEER

Memory and Mental States in the Appreciation of Literature, of literary narrative must be mediated by the fragmentary and distorted memory of real readers. In the present chapter, we focus on an important determinant of memory: the variation in readers’ mental states during reading. In particular, we identify two prevalent fluctuations that have critical im

令人悲傷

Temporal Conflict in the Reading Experience,he characters in the story have a visual perspective on the represented world whereas the reader has a temporal perspective on the narrative as such. The reader’s temporal perspective is a bit eschewed to the represented visual perspective in that there is a temporal distance between the represented

恃強(qiáng)凌弱的人

originality

What Is a Surface? In the Real World? And Pictures?,psychology by Metzger in Ganzfeld experiments in the 1930s. However, it was first offered as a serious concept in perception theory by Alhazen in his . (1039). Remarkably, almost no contemporary theory of perception uses the term. To rectify this omission, a theory of surfaces is presented here, sug

放肆的你

藥物

Why We Are Not All Novelists,l draw from psychopathology, phenomenology and neuroscience. Using the phenomenological concept of “multiple realities,” I argue that the novelist is in some ways like and in some ways unlike someone who experiences delusions insofar as the novelist can enter into a sustained engagement with an alte

contrast-medium

Aesthetic Relationship, Cognition, and the Pleasures of Art, with an analytical distinction between aesthetics and art-theory, I propose a psychologically and phylogenetically grounded description of the mental resources on which aesthetic experience draws. After tracing a tentative phylogeny of the cognitive and affective resources defining aesthetic experi

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