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

coherent

书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art影响因子(影响力)




书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art影响因子(影响力)学科排名




书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art网络公开度




书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art网络公开度学科排名




书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art被引频次




书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art被引频次学科排名




书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art年度引用




书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art年度引用学科排名




书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art读者反馈




书目名称Investigations Into the Phenomenology and the Ontology of the Work of Art读者反馈学科排名

背书

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

令人悲伤

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

恃强凌弱的人

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

药物

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

neutralize