Pub Date : 2020-05-14DOI: 10.1093/oso/9780198861751.003.0008
Michael Morris
The Postscript offers the beginning of an account of the point of artistic representation, if the main theory of the book is correct and fully general. What might the point of artistic representation in general be, if the Real-Likeness view applied to representation in all art forms? One point might be to provide a form of escapism: artistic representations would provide us with toy worlds into which we might escape: the details of this are explored a little here. But we might hope that artistic representations might help us to understand the real world; how they might do that is left unexplained.
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Pub Date : 2020-05-14DOI: 10.1093/oso/9780198861751.003.0007
M. Morris
This chapter attempts to develop for the case of characters in novels the kind of Real-Likeness view developed for painted things in Chapter Two. It does this by developing a new view in the philosophy of language. First, it introduces the idea of non-transactional uses of language, which are not designed to get some everyday kind of task done. It is argued that this kind of use is found both in philosophy and in stage plays. Secondly, it develops a Real-Likeness view of the characters in stage plays, and argues that novels have narrators who are like such characters. And thirdly, it introduces the idea of verbal mimes, which are ways of using words to imitate real-world things. It is then argued that novels create real likenesses by means of verbal mimes. Finally, it is suggested that even proper names may be given a role in verbal mimes.
{"title":"Real Characters","authors":"M. Morris","doi":"10.1093/oso/9780198861751.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780198861751.003.0007","url":null,"abstract":"This chapter attempts to develop for the case of characters in novels the kind of Real-Likeness view developed for painted things in Chapter Two. It does this by developing a new view in the philosophy of language. First, it introduces the idea of non-transactional uses of language, which are not designed to get some everyday kind of task done. It is argued that this kind of use is found both in philosophy and in stage plays. Secondly, it develops a Real-Likeness view of the characters in stage plays, and argues that novels have narrators who are like such characters. And thirdly, it introduces the idea of verbal mimes, which are ways of using words to imitate real-world things. It is then argued that novels create real likenesses by means of verbal mimes. Finally, it is suggested that even proper names may be given a role in verbal mimes.","PeriodicalId":326311,"journal":{"name":"Real Likenesses","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125673020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-14DOI: 10.1093/oso/9780198861751.003.0003
M. Morris
This chapter first explains what has to be done in order to take the Paradox of Painting seriously, and then proposes a way of trying to make sense of it. First, we don’t have to introduce entities of any very unusual kind, or embrace an odd ontology. But secondly, we need to find a way of allowing that a painted face, for example, is in some serious way a face, even if it’s not a real face. This involves engaging with issues in linguistics (for example, the work of Partee) and in the nature of our response to paintings. It is proposed that the face we see in a painting is what I call a real likeness, a unified whole made of paint, which counts as being, in a way, a face, because it resembles a real face.
{"title":"Painted Things","authors":"M. Morris","doi":"10.1093/oso/9780198861751.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780198861751.003.0003","url":null,"abstract":"This chapter first explains what has to be done in order to take the Paradox of Painting seriously, and then proposes a way of trying to make sense of it. First, we don’t have to introduce entities of any very unusual kind, or embrace an odd ontology. But secondly, we need to find a way of allowing that a painted face, for example, is in some serious way a face, even if it’s not a real face. This involves engaging with issues in linguistics (for example, the work of Partee) and in the nature of our response to paintings. It is proposed that the face we see in a painting is what I call a real likeness, a unified whole made of paint, which counts as being, in a way, a face, because it resembles a real face.","PeriodicalId":326311,"journal":{"name":"Real Likenesses","volume":"390 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124663748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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