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| Katkey: | 7376531 |
| Volltext: | N A M E I N D E X Aldrich, Virgil C. 87 n.l Austin, J.L. — on illocutionary acts 71-5, 82-3, 84, 90, 137-8, 153 Bartlett, F.C. 116 (illustration), 117 Bennett, John G. 45 n.l Black, Max 5 n.2, 10 n.4, 12 n.5 Blake, William — and pictorial style 59 — and visual 'metaphor' 131 (illustration), 132, 135, 136 Blocker, Gene 21 n.l, 45 n.l Bouwsma, O.K. 139 n.15 Bower, T.G.R. 24 n.l3 Brooks, V. 25, 26 Bruce, James 119 Charlton, W. 21 n.l, 25 Constable, John 110, 111, 144 (illustration), 145-7 Copely, J.S. 60 Daumier, H. 127 (illustration) da Vinci, Leonardo 21-3, 27, 47, 59 Denham, D. 23 n.7 de Ribera, Jusepe 140 (illustration), 141-2 De Wit, F. 47, 48 (illustration) Duncan, H. 24 n.9, 24 n.10 Dürer, A. 118 (illustration), 119-20 Fialetti, O. 47, 48 (illustration) Forge, Andrew 111 n.7 Francesca, Piero della 46 Gombrich, E.H. 45 n.l, 47, 50-64, 110, 112, 114, n.9, 117, 119, 120, 121, n.ll, 122, 136, 141 n. 17, 145, 147-8, 152 Goodman, Nelson 3, 10 n.4, 13-17, 19-20, 21 n.l, 22, 25-6, 45 n.l, 111, 114 n.9 Gourlay, N. 24 n.10 Goya, F. 60 Grice, H.P. 73, 78 Hanson, N.R. 109, 114 n.9 Hare, R.M. 90 n.6 Hayes, C. 25 n.l5, 26, 27 Hayes, K. 25 n. 15, 26, 27 Heath 118 (illustration) Hepburn, R.W. Ill n.7 Herrnstein, R.J. 25 Herskovits, M.J. 23 n.8 Höchberg, Julian 21 n.l, 22 n.2, 22 n.3, 23 n.6, 24, 25 n.14, 25 n.17, 26, 27 Hospers, John 139 n.16, 141 n.17 Hudson, W. 24 n.9, 24 n. 10 Hume, David 30 Ivins, William 81-2, 110, 124 Kennedy, John 24-5, 25 n.14, 26, 40 n.36 Kjorup, Soren 76 n. 8, 78 n.ll, 106 Köhler, W. 24, 26, 27, 32 Kuhn, Thomas 61-4 Lewis, D.K. 27, 28-30, 35, 44, 45 Loveland, D.H. 25 Low, Sir David 127 (illustration) Giotto 57 Manns, James 14 INDEX 159 Margolis, Joseph 21 n.l Masaccio 57 Michelangelo 59 Mondrian, Piet 12 Monet, Claude 110 Morgenstern 28 Mothersill, Mary 87 n.l Osgood, C.E. 145, 146 Picasso, P. 16 Pirenne, M.H. 22, 23 n.5, 38 Pissarro, C. 110, 125 Pliny the Elder 81-2 Polanyi, Michael 38 n.29 Popper, K.R. 61-4 Pozzo, Andrea 38 Raphael 23, 59 Rogers, L.R. 47 n.3, 52 n.12 Rubens, P.P. 47 Ryle, G. 109 n.l, 114 n.9 Schelling, T.C. 27, 28 n.23 Schiffer, Stephen 30 n.26 Schön, E. 47, 48 (illustration) Searle, John 88 n.2, 89, 90, 91 Seurat, G. 125 Sibley, F.N. 143 Skinner, Quentin 83-4 Squires, Roger 10 n.4, 21 n.l, 25, 26 n.21, 39-43 Stein, Gertrude 16 Strawson, P. F. — on illocutionary acts 73-5, 83-4, 85, 99, 153 — on referring 89 n.3 Stubbs, George 117 Suci, G.J. 145 Tannenbaum, P. H. 145 Thrane, Gary 23 n.4 Tolstoy, Leo 139 n.16, 141 n.17 Tomas, Vincent 87 n.l Tormey, Alan 139 n.15, 142-5 Turner, J.M.W. 60, 123 van der Goes, Hugo 134 (illustration) Van de Passe, C. 47, 48 (illustration) Van Gogh, Vincent 111, 123, 124 Vermeer, Jan 123 Vernon, Philip E. 24 n.9 Vogtherr, H. 47, 48 (illustration) von Neumann 28 Walton, Kendali 10 n.4, 17-18 Watkins, John 62 n. 25 Whistler, J.A.M. 123 Wilde, Oscar 110 Wittgenstein, L. 13 n.6 Wollheim, R. 25, 32, 42, 51, 58 n.l6, 146 n.26, 147-8 Zimmerman, R. 24, 25 n.14 S U B J E C T I N D E X Acts — vs consequences 138 Advertisements — and the use of pictures xi, 7, 8, 67, 87, 104-6 — and pictorial representation 69-70, 104-6 — and indication 99, 101, 104-6, 153 — and attribution 99, 101, 104-6, 153 — and context 105 — and illustration 105-6 — and two-way cognitive relations 108 — and arousal 136, 137, 138 Aesthetics — and pictures xi, xii, 154 — and art 63, 136, 146 — and expression 143, 150 — aesthetic effects 150, 154 Alluding — as an illocutionary act 83-4 Arousal — and pictures 104-5 — and pictorial representation 136-9, 140-48 — and expression 139-48, 150 Art — and style 55, 63 — and nature 111 — and pictures xi-xii, 111, 139, 154 — and perception 110-2 Art history — and style 46, 51, 54-64 — and schemata 47 — and 'making and matching' 51 — and pictures 81-2 — and photographs 110-1 — and expressive properties 146-8, 150 Attitudes — and the use of pictures 105, 112, 136-9 — and visual 'metaphor' 135-6 Attribution — in illocutionary acts 87-107 — and context 92-5, 101 — and propositional acts 90, 95-8, 101- 7, 153 — and visual 'metaphor' 129-36 Belief — and picture perception 23, 113-4, 120-6 — and pictorial representations 78, 83, 109-112, 126-36 — and pictures 78, 109-26 — and schemata 113-9, 130, 149 — and concepts 113, 130 — and perlocutionary effects 138 Calling — as an illocutionary act 81 Captions — See Titles Cartoons — and visual 'metaphor' 127-36 — and propaganda 127-8, 135, 138 Chinese Art — and pictorial style 55-6 Codes — See Schemata Colour — and expression 146-7 Communication INDEX 161 — and pictorial illocutionary acts 8, 69-71, 75-80, 88-90, 99-107, 125, 153 — and verbal illocutionary acts 75-7, 78-85, 88-90, 91 Concepts — and belief 113, 130 — and description 113 — and schemata 113-9, 130-6 Context — and attribution 92-5, 101, 153 — and indication 92-5, 101, 153 — and propositions 92-5, 153 — and expression 146-8 — and repertoire 147-8 Conventions — and depicting 16, 20, 21-44, 152 — and titles 16 — and picture perception 24-39 — and coordination problems 28-30, 32, 35, 152 — defined 29 — and conventional devices 29, 38, 40 — and resemblance 20, 35-9, 41, 42-3 — and pictorial style 37-8, 45-64 — and arbitrary symbols 39-41 — 'umbrella' conventions 45-9, 53, 62 — and schemata 47-9, 53-4 Coordination problems — and depicting 28-30, 32, 35, 36-9, 43-4, 109 — and conventional devices 29, 40 — and conventions 29 — and schemata 47, 112 Copies — vs pictures 17, 22 Cubism — and pictures 16-17, 42 Denotation — and the picturing relation 3-7, 18, 19-20, 151 Depicting — and conventions 21-44, 45-64, 152 — and visualizing 21 — and da Vinci 21-3 — and optical inconsistencies 22-3 — and audience skills 27 — the aim of 8, 30, 96, 125-6 — as a coordination problem 30-9, 109, 112, 152 — and trompe l'oeil 33-4 — and schemata 50-4, 112-9 — and the Gombrich problem 50-4 — and 'making and matching' 50-1 — and the 'innocent' eye 52 — Gombrich's account of 50-4, 60-1 — and 'umbrella' conventions 50-7, 63-4, 96 — vs the use made of pictures 67-71, 96-8, 120 Descriptions — and the picture/use distinction 67, 68, 69, 99 — pictorial vs verbal 69, 109 — and illocutionary force 71 — and indication 88, 93-4 — and attribution 88, 93-4 — and two-way cognitive relations 108-9 — and belief 113-9 — and schemata 113-9 Diagrams — and explanation 96 Egyptian Art 42, 46, 51, 55, 57 Expectations — and pictures 109-26 — and pictorial representation 109- 112, 126-36, 149 — and schemata 113-9 — and projection 122 Explanations — and pictures 67, 68, 69, 96, 108 — pictorial vs verbal 68, 78, 87, 109 — and illocutionary force 71, 79, 80-5 — and indication and attribution 88, 91, 93, 98 — and illustration 101-4, 108 Expression — vs perlocutionary effects 139, 148, 150 — and pictures 139-48, 150 Expressive properties — and non-inference warranting verbs 142-3 162 INDEX — and relation to non-expressive properties 143-8 — and context 146-8 Frames — and picture perception 31, 33 Game Theory 28 Greek Naturalism — and pictorial style 51, 55-6, 57, 58, 60 — and 'making and matching' 58 Greeting — and pictorial illocutions 69, 79 — and indication and attribution 89, 95 Illocutionary Acts — See Pictorial Illocutionary Acts — See Verbal Illocutionary Acts Illocutionary force — and illocutionary acts 71-5, 86-7, 153 — explanations of 80-5 Illusions — and picture perception 26-7 — and depicting 33-4 — and conventions 39-42 — and resemblance 41 Illustrated manuscripts — and illustration 100, 101 Illustration — vs picturing 13, 18, 19, 70 — pictorial vs verbal 68-9, 108 — and indication and attribution 88, 99, 101-4, 153 — as explanation 101-4, 108 — as decoration 101-4 — and advertisements 105-6 — and two-way cognitive relations 108 — and arousal 136-9 Impressionism 42, 46, 47, 52, 56, 110, 111, 123 Indication — in illocutionary acts 87-107 — and context 92-5, 101 — and the picturing relation 94 — and propositional acts 90, 95-8, 101-7, 153 Influence — of pictures ix, 109-26, 149 — of pictorial representations 109-112, 126-48, 149, 154 — and projection 121-3, 124-6, 149 — and visual 'metaphor' 126-36, 149- 50 — affective 83, 136-48, 154 Informing — with pictures 8, 67, 87, 93-4 — and advertising 104 Intentionc 73-5, 78, 83-4, 85, 101-2 Isometric drawings 47 Knowledge — and picture perception 23 — and pictorial representation 109-12, 126-36, 149 Lampoon 8, 20, 98-99 Language — and pictures 43, 85-7, 97, 106, 113-9 Learning — from pictures 109-26 — from pictorial representations 109- 112, 126-36 Locutionary acts 72, 76-7, 83, 90 Mannerism 55 Map — as a pictorial illocutionary act 8, 81, 96, 99 Medieval art 57, 60 Memory — projection of 121-3, 124-6, 149 Metaphor — See Visual 'metaphor' Painting — and expression 139-48 Patronizing — as an illocutionary act 83-4 Perception — and'theory-ladenness' 109, 113-4 — and art 110-2 — and the picturesque 110, 125 — and photographs 110-1, 124 — and pictures 16, 23, 109-26, 149 INDEX 163 — and pictorial representation 109-12, 125, 126-36 — and belief 23, 113-4, 120-6 — and projection 121-3, 124-6 — and pictorial style 123-6 Perceptual Revolutions 123-6, 149 Performatives 72-3, 74-5, 82-4 Perlocutionary acts — vs illocutionary acts 72, 73, 83, 136- 8 — and pictorial representation 126-7, 135, 136-9 — and advertisements 137 — and warnings 137 — and expression 139, 141, 148, 150 Perspective — and pictorial style 46, 47, 56 — and depicting 53 — and perception 123 Philosophy of language — and pictorial communication xi, 106 Photographs — fakes 4 — and their influence on perception 110-1, 124 Pictorial illocutionary acts — and representation 8, 69-71, 75-80, 88-90, 99-107, 125, 153 — and non-verbal illocutionary acts 8, 76 — and meaning 13 — and verbal illocutionary acts 75-7, 78-85, 88, 90, 91 — and intention 78, 101-2 — and context 78-80, 92-5, 101, 103 — and indication and attribution 87- 90, 92, 107 — and propositional acts 90, 95-8, 101-7 — and cognitive influence 126-36, 149 — and affective influence 126-7, 136-9, 141, 148 — and perlocutionary acts 136-9, 141 Pictorial Representation — and denotation 5-10 — and pictures 8, 18, 151 — and representation-as 19-20 — and illocutionary acts 8, 69, 98, 99, 153 — and learning 109-12, 126-36 Pictorial Style — and conventions 37-8, 45-64, 152 — individuation of 54-7, 152 — vs personal style 54-5, 147 — vs artistic style 55, 63 — and Renaissance Naturalism 55, 57 — and Mannerism 55 — and Greek Art 55-6, 57 — and Egyptian Art 55-7 — and Chinese Art 55-6 — and Medieval Art 57 — and 'vocabularies' of schemata 54- 64 — Changes of 57-64, 150, 152-3 — Refinements vs changes 58-60 — Popper vs Kuhn 60-3 — and perception 123-6 Pictorial 'vocabularies' — and the individuation of styles 54-7, 152 —• and changes of style 57-64, 152 Pictures — and use 7-10, 15-16, 18, 19, 67-71, 95, 125, 126-150 — and resemblance 10-18 — of fictional objects 11-13 — distinguishing features of 17 — and their history xi, 81-2, 110-1 — as a language 85-7, 106, 153 — and propositions 87-98 — and arousal 104-5, 136-9 — and art 111, 154 — and cognitive influence 109-36, 149 — and expression 139-48, 150 Picture perception — and conventions 23-32 — and sub-human primates 25 — and pigeons 25 — and Africans 24 — and infants 25 — and illusion 26-7, 39-42 — perceiving what vs perceiving that 26-7, 30-9, 43 — and titles 30, 49 — and frames 30 164 INDEX — and resemblance 10-18, 20, 35-8, 42 — and surface recognition 38 Picturing relation — contrasted with photographic relation 4 — and resemblance 10-18, 152 — and denotation 3-7, 18, 19-20, 151 — and representation-as 19-20 — and conventions 20 Predication — and attribution 88-9 Projection — and cognitive influence 121-3, 124- 6, 149 Propositions — and pictorial illocutionary acts 89- 107, 153 — and context 92-5 Propositional acts — vs illocutionary acts 90 — and pictures 95-8 — and warnings 101 — and illustrations 101-4 — and advertisements 104-6 Proposition indicators — and illocutionary acts 91-2, 153 — and context 93-5, 96-8, 106-7, 153 Psychology — of picture perception 23-27, 50 n.6 — and depicting 51, 117 — and meaning 145-6 Reference — and indication 88-9 Renaissance Naturalism 55, 57, 58, 59-60 Repertoire — and expression 147-8 Reporting — with pictures 68, 88, 99, 136 Representation — See Pictorial Representation Resemblance — and the picturing relation 10-18, 20, 152 — and fictional objects 11-13 — and non-visual objects 12-13 — and relativism 13-17 — the recognition of 14-17, 36 — and conventions 20, 35-9, 41, 42-3 — and cognitive influence 121 Romanticism — and expression 146 Schemata — and pictorial style 47-60, 152 — and schematic drawings 47-9, 51 n.9 — and conventions 47-9, 121, 128, 152 — and depicting 50-7, 63-4, 112-23, 152 — as codes 50, 112 — and 'making and matching' 50-1, 57-8 — and 'umbrella' conventions 53-4, 152 — and the individuation of style 54-7, 152 —• and changes in style 57-64, 152 — and schema plus correction 57-8, 59, 119-20 — and perception 112-23, 128-36, 149 — and descriptions 113-9 Sentences — vs pictures 86-7, 88-90, 97, 106, 153 Standing for — and the picturing relation 3-7, 18 Stürmer, The 135, 136 Style — See Pictorial Style Technical drawing — and 'umbrella' conventions 46-7, 52 Titles — and the use of pictures 13, 92 — and picture perception 31, 33 — and conventions 49 — and propositions 92 Trompe Vail 17, 22, 26-7, 33-4 Two-way cognitive relations — and pictorial representation 109- 110, 149 — and pictures 109-110, 122 'Umbrella' conventions — and depicting 45-63, 96, 152 — and Egyptian art 46 — and perspective 47, 47, 53 INDEX 165 — and Impressionism 46, 47 — and technical drawing 46-7, 52 — and orthographic projection 47, 56 — and schemata 53-4, 152 — and the individuation of styles 54-7, 152 — and changes in style 57-64, 150, 152-3 — and perception 123-6, 149 Verbal illocutionary acts — and pictorial illocutions 69, 75-85, 88-90, 91, 99 — and J.L. Austin's account 71-3, 75-7 — and meaning 71, 74-5 — vs locutionary acts 72, 83, 90 — vs perlocutionary acts 72, 73, 83 — and P.F. Strawson's account 73-5, 83-4 — and speaker's intention 73-5, 78, 83- 4 — essentially conventional illocutions 73-4 — and performatives 73-5, 82-4 — and speech acts 75-80 — and non-verbal illocutionary acts 76-7 — and Quentin Skinner's account 83-4 — and indication and attribution 87- 90 — and propositional acts 90 Visual 'metaphor' 126-36, 149-50 Warnings — and the use of pictures 7, 8, 13, 67, 69, 75, 76, 78, 80, 81 — pictorial vs verbal 68, 78, 87, 109 — and indication and attribution 88, 91, 99, 101, 153 — and two-way cognitive relations 108 — and arousal 137 Words — vs schemata 113-9, 130 |
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