Hostname: page-component-848d4c4894-hfldf Total loading time: 0 Render date: 2024-05-16T12:45:50.743Z Has data issue: false hasContentIssue false

Depiction

Published online by Cambridge University Press:  11 March 2013

John Hyman*
Affiliation:
The Queen's College, Oxfordjohn.hyman@queens.ox.ac.uk

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Papers
Copyright
Copyright © The Royal Institute of Philosophy and the contributors 2013

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Nelson, Goodman, Languages of Art (Indianapolis: Hackett, 1968), ch.1Google Scholar.

2 Kenny, A.J.P., Action, Emotion and Will (London: Routledge & Kegan Paul, 1963), ch.7Google Scholar.

3 Prior, A.N., The Doctrine of Propositions and Terms (London: Duckworth, 1976), 29Google Scholar.

4 Locke, Essay Concerning Human Understanding, 2.25.5.

5 Oxford English Dictionary, relation, 2.a.

6 The phrase ‘namely-rider’ was coined by Ryle. See Ryle, G., ‘Heterologicality’ repr. in Collected Papers II (London: Unwin Hyman, 1971), 250–57Google Scholar.

7 Hopkins, R., Picture, Image and Experience (Cambridge: CUP, 1998), 10fGoogle Scholar.

8 Routledge Encyclopedia of Philosophy, Depiction, §1.

9 Abell, C., ‘Canny Resemblance’, Philosophical Review 118 (2009), 186CrossRefGoogle Scholar.

10 On this topic, see Rundle, Bede, Grammar in Philosophy (Oxford: OUP, 1979)Google Scholar; Sainsbury, Mark, Reference without Referents (Oxford: OUP, 2005), chs 2 & 6Google Scholar.

11 On Sense and Reference’ in Translations from the Philosophical Writings of Gottlob Frege, ed. and trans. Geach, P. & Black, M., third edition (Oxford: Blackwell, 1980).Google Scholar

12 Wollheim, R., Painting as an Art (London: Thames and Hudson, 1988), 46Google Scholar.

13 See Budd, M., ‘On Looking at a Picture’, in Hopkins, Jim & Savile, Anthony (eds), Psychoanalysis, Mind and Art (Oxford: OUP, 1992)Google Scholar; Hyman, J., The Objective Eye (Chicago, Ill.: Univ. of Chicago Press, 2006), ch.7Google Scholar.

14 Wittgenstein, L., The Blue and Brown Books, second edition (Oxford: Basil Blackwell, 1969), 32Google Scholar.

15 Goodman, op. cit., 5.

16 Kulvicki, John, ‘Pictorial Diversity’ in Abell, Catharine & Bantinaki, Katerina, eds., Philosophical Perspectives on Depiction (Oxford: OUP, 2010)Google Scholar.

17 Descartes, R., Philosophical Writings I, trans. Cottingham, J. et al. (Cambridge: CUP, 1985), 165Google Scholar.

18 Podro, M., ‘Literalism and Truthfulness in Painting’, British Journal of Aesthetics 50 (2010)CrossRefGoogle Scholar.

19 Ibid., 457f.

20 There is a good discussion of the use of single and multiple vanishing-points as organizing principles in fifteenth-century painting in White, J., The Birth and Rebirth of Pictorial Space second edition (London: Faber & Faber, 1967), 196ffGoogle Scholar.

21 Riegl, A., The Group Portraiture of Holland, trans. Kain, E.M. (Los Angeles: Getty Research Institute, 1999), 285Google Scholar.

22 On this topic, see The Objective Eye, ch.10.