Thesis (M.A.)--University of Toronto, 2004. / Adviser: Peter Trifonas.

Thesis (M.F.A.)--Rochester Institute of Technology, 1995. / Typescript. Bibliography: leaf [13]

Thesis (M.A. (Philosophy))--University of Pretoria, 2000. / Summary in English and Afrikaans. Includes bibliographical references.

Thesis (MA (Philosophy))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis consists of two essays, each focussing on a current topic in aesthetics in the tradition of analytic philosophy. First paper (On depiction) Given broad consensus that resemblance theories do not do well at explaining depiction, two alternative approaches have dominated the literature in recent decades: (1) Perceptual accounts try to ground depiction in the phenomenology of our pictorial experiences; (2) Structural accounts understand pictures as symbols in pictorial symbol systems. I follow Dominic Lopes in granting that the two approaches, often interpreted as each other’s rivals, both have merit and are successful in answering divergent questions about depiction. After taking stock of the most influential theories from both approaches, I turn to John Kulvicki’s recent work. He has made surprising progress as a proponent of the structural approach. His attempt to define depiction in structural terms is groundbreaking and, for the most part, successful. The paper measures some of his suggestions on picture structure and perception against the well-established “twofoldness”-thesis of the perceptual theorist on depiction, Richard Wollheim. Wollheim’s theory is defended and suggestions made to adapt Kulvicki’s theory accordingly. Second paper (On expression) Since Frank Sibley’s early papers in the mid-twentieth century, analytic aesthetics has broadened its field of inquiry to extend past the traditional focus on judgements of beauty or aesthetic merit, to peripheral terms, concepts, properties and judgements (e.g. of grace, elegance, garishness, daintiness, dumpiness, etc.). Nick Zangwill gives a traditionalist report of what binds the new, broad and heterogeneous category of the aesthetic together. He argues that purely evaluative aesthetic judgements of beauty or ugliness (i.e. “verdicts”) are fundamental. All other aesthetic judgements derive their evaluative aesthetic nature from them. In this essay it is argued that Zangwill’s defence of beauty’s supremacy in the category of the aesthetic, does not do justice to ostensible instances of non-evaluative judgements that ascribe expressive properties to artworks. Nelson Goodman’s cognitivist theory of expression in art is used as a foil for Zangwill’s claims. / AFRIKAANSE OPSOMMING: Hierdie tesis bestaan uit twee essays, elk oor ’n aktuele onderwerp in estetika in die tradisie van die analitiese filosofie. Eerste essay (Oor uitbeelding, oftewel “piktoriale representasie”) Gegewe ’n algemene konsensus dat ooreenkoms-teorieë nie slaag daarin om uitbeelding (“depiction”) te verklaar nie, is daar twee alternatiewe benaderings wat die onlangse literatuur oor die onderwerp oorheers: (1) die perseptuele benadering probeer uitbeelding begrond in die fenomenologie van ons piktoriale ervaringe; (2) die strukturele benadering verstaan beelde as simbole in piktoriale simboolsisteme. In navolging van Dominic Lopes neem ek aan dat dié twee benaderings, wat normaalweg as mekaar se opponente beskou word, altwee meriete dra en onderskeidelik sukses behaal in die beantwoording van heel uiteenlopende vrae oor die aard van uitbeelding. Na ’n bestekopname van die mees invloedryke teorieë onder beide benaderings, word John Kulvicki se onlangse werk oorweeg. Hy maak verrassende vooruitgang as ondersteuner van die strukturele benadering. Sy poging om uitbeelding in strukturele terme te definiëer is revolusionêr en bied stof vir nadenke. In hierdie essay word sommige van sy voorstelle oor beeld-struktuur en -waarneming gemeet aan die gevestigde “twofoldness”-tesis van Richard Wollheim. Wollheim se perseptuele teorie word verdedig en ’n voorstelle word gemaak om Kulvicki se teorie daarvolgens aan te pas. Tweede essay (Oor uitdrukking) Sedert Frank Sibley se vroeë essays in die middel van die twintigste eeu het die analitiese estetika sy visier verbreed om verby die tradisionele fokus op oordele van skoonheid en estetiese waarde te kyk, na perifere terme, begrippe, eienskappe en oordele (van bv. grasie, delikaatheid, balans, strakheid, elegansie, ens., ens.). Nick Zangwill gee ’n tradisionalistiese verslag van wat die nuwe, breë en heterogene kategorie van die estetiese saambind. Hy argumenteer dat suiwer evaluerende oordele van skoonheid fundamenteel bly. Alle ander estetiese oordele se estetiese aard word daarvan afgelei. In hierdie essay argumenteer ek dat Zangwill se verdediging van skoonheid (of estetiese waarde) as fundamenteel tot die kategorie van die estetiese, nie laat reg geskied aan aantoonbare gevalle van nie-evaluerende oordele, naamlik dié wat ekspressiewe eienskappe aan kunswerke toeskryf, nie. Nelson Goodman se kognitiewe teorie van van uitdrukking in kuns word gebruik as teenhanger en wegspringplek vir kritiek op Zangwill se aansprake.

Thesis (M.A.) - Carleton University, 2003. / Includes bibliographical references (p. 73-75). Also available in electronic format on the Internet.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-07-01T11:15:43Z No. of bitstreams: 1 arquivo total.pdf: 1798555 bytes, checksum: 0269feddeaf52e8b76ac94c2d71e8966 (MD5) / Made available in DSpace on 2016-07-01T11:15:43Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1798555 bytes, checksum: 0269feddeaf52e8b76ac94c2d71e8966 (MD5) Previous issue date: 2015-10-29 / This work focuses on the study of "Compendium Musicae" from the philosopher René Descartes. Translation ipsis literis with the explanations and notes is necessary for a brief analysis of short excerpts of the book. In addition to the translation, our goal is to provide some comments, since the text is unfamiliar and it is also of difficult comprehension, and for satisfactory understanding it is necessary that the reader knows a minimum of theory, rules and musical concepts, and also a minimum about the history that permeates the time when the text was written. Therefore, the unique research focus is Descartes‟ text itself, supported by books that are listed in the research bibliography for further development and understanding of the "Compendium Musicae". In this work, we can see how René Descartes understood music, sound and their interrelationships, therefore formatting a very particular musical aesthetic concept, which appears later at certain times of his life, through his correspondences. We intend that this work can put some light in a work that is still little studied, which presents us the philosopher in his early career, the philosopher that throughout its existence became known and labeled for the strong mathematical appeal, but one day, still young, wrote his first work in which, despite its mathematical trends, brings to the surface his human side. / O presente trabalho tem como foco de seu estudo o “Compendium Musicae” do filñsofo René Descartes. A tradução ipsis literis com as anotações e notas de esclarecimentos faz-se necessária para uma breve análise de pequenos trechos do livro. Além da tradução, nosso objetivo é apresentar pequenos trechos comentados, uma vez que, por conta do desconhecimento do texto e pela dificuldade de acesso às suas nuances, e, para um satisfatñrio entendimento é necessário que o leitor saiba um mínimo sobre teoria, regras e conceitos musicais, e também sobre a histñria que permeia a época em que o texto foi escrito. Portanto, teremos como foco de pesquisa única e exclusivamente o prñprio texto de Descartes, amparado por livros que estarão, por sua vez, listados na bibliografia de pesquisa para um maior aprofundamento e entendimento do “Compendium Musicae”. Neste trabalho, poderemos minimamente observar como René Descartes entendia a música, o som e suas inter-relações, formatando assim um conceito estético musical muito particular, que encontraremos em determinados momentos de sua vida, em suas correspondências. Pretendemos, que este trabalho lance luz numa obra de Descartes ainda pouco estudada, que nos apresenta um filñsofo em início de carreira que, durante toda sua existência, ficou marcado e rotulado por seu conjunto de obras com forte apelo matemático, mas que um dia, ainda jovem, escreveu sua primeira obra na qual, apesar de suas tendências matemáticas, explicita, dentro de seu conteúdo, além da matemática, o seu lado mais humano.

This thesis is concerned with understanding sport theory based on art theory. In so doing, in extending their relationship, a deeper appreciation of both may result. In turn, this may enhance our lives. While postmodern theories of art somewhat devalue the rarefied status of art, at the same time art’s openness is particularly well appointed to understanding other aesthetic domains. Scholarly attention to the so-called aesthetics of the everyday of which sport is an example, is a relatively recent paradigm shift that attempts to give philosophical weight to common, ordinary experiences as aesthetic. Art as the paradigm case of aesthetic experience is therefore useful in illuminating such experiences, one of which is sport. The results of this study are: Like art, sport idealises in its desire for perfection. Like art, sport is a second-order mimetic activity that is autonomous and reflects extra-aesthetic concerns. The implications of the postmodern language turn for art, namely detotalising and/or meaninglessness can be applied to sport. Drawing from Wittgenstein, art and sport are culturally embedded within institutional frameworks and quite simply are learnt ways of thinking and doing. Expressive theories of art were introduced which, it was found, has resonance with sport, as it can be similarly described as an expression of “aesthetic ideas”, to use Kant’s phrase. The artistic formalist perspective and the realization of form led to describing sport as aesthetically beautiful in many ways. One might apply Zangwell’s moderate aesthetic formalism to sport where formal qualities, representation and content co-exist, thus somewhat combining the above conclusions. An analysis of this kind suggests that sport may derive its meaning from an artistic perspective, at least in theory. At the same time, though not the primary focus of this thesis, one might describe the relationship between art and sport as an oscillation, if at times a dialectic, in which case boundaries between them inevitably become more complex. It is conceivable that within that complexity/struggle/play there can be self- realization and world-bettering. It is also conceivable that this is a result of the emergence of a new sub-discipline, namely sports art. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

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