Pictorial representation and the significance of style
This thesis aims to show that the concept of style ought to be given greater significance in understanding depiction. I argue that if we want to understand pictorial representations we must remember that how they depict is crucial to understanding not only why they depict what they do, but also why we have the particular kind of experience that they engender. I develop and defend an account of artistic style that has its basis in the claim that individual style is the way in which an artist does something, where this way of doing something is highly personal. With this in place I explore and critically evaluate previous attempts at understanding pictorial representation, in particular the popular Resemblance View, further clarifying the phenomenon of seeing-in along the way. I then modify and develop an account of depiction which has its basis in the work of Flint Schier and Dominic Lopes, who argue for an âAspect-Recognitionâ theory of depiction. The Aspect-Recognition theory, I contend, can give us the beginnings of a story about depiction, but while it is pointing in the right direction, I show it is still inadequate. I then use the concept of style that I have developed and build upon the Aspect-Recognition
Bradley, Helen
Pictorial representation and the significance of style. This thesis aims to show that the concept of style ought to be given greater significance in understanding depiction. I argue that if we want to understand pictorial representations we must remember that how they depict is crucial to understanding not only why they depict what they do, but also why we have the particular kind of experience that they engender. I develop and defend an account of artistic style that has its basis in the claim that individual style is the way in which an artist does something, where this way of doing something is highly personal. With this in place I explore and critically evaluate previous attempts at understanding pictorial representation, in particular the popular Resemblance View, further clarifying the phenomenon of seeing-in along the way. I then modify and develop an account of depiction which has its basis in the work of Flint Schier and Dominic Lopes, who argue for an âAspect-Recognitionâ theory of depiction. The Aspect-Recognition theory, I contend, can give us the beginnings of a story about depiction, but while it is pointing in the right direction, I show it is still inadequate. I then use the concept of style that I have developed and build upon the Aspect-Recognition
pictorial_representation significance style aim_show concept style ought give_great significance depiction argue want pictorial_representation must remember depict crucial depict also particular_kind experience engender develop_defend account artistic_style basis_claim individual style way artist something way something highly personal place explore critically_evaluate previous_attempt pictorial_representation particular popular resemblance view clarify phenomenon seeing along_way modify develop_account depiction basis work flint argue aspect recognition theory depiction aspect recognition theory contend give beginning story depiction point right direction show still inadequate use concept style develop build_upon aspect recognition