Hartley describes how modern theory from Kant through Lacan attempts to come to terms with the sublime limits of representation and how ideas developed with the Marxist tradition—such as Marx’s theory of value, Althusser’s theory of structural causality, or Zizek’s theory of ideological enjoyment—can be seen as variants of the sublime object. Representation, he argues, is ultimately a political problem. Whether that problem be a Marxist representation of global capitalism, a deconstructive representation of subaltern women, or a Chicano self-representation opposing Anglo-American images of Mexican Americans, it is only through this grappling with the negative, Hartley explains, that a Marxist theory of postmodernism can begin to address the challenges of global capitalism and resurgent imperialism.
How are images made, and how should we understand their limits, capacities, and forces in digital media?
While functioning as representations or mediations of the political, images also act through the technologies and social processes that they claim only to represent. In both capacities, images can be innovative, but they can also reproduce harmful phenomena such as racism, misogyny, and conspiracy. Boundary Images investigates the political, material, and visual work that images do to cross and blur the boundaries between the technological and biological and between humans, machines, and nature. Exploring the limits of the visual and beyond what can be seen, Boundary Images posits these boundaries as starting points for the production of new and radically different ways of knowing about the world.
This compilation of cutting-edge philosophical and scientific research comprises a survey of recent neuroscientific research on representational systems in animals and humans. Representational systems provide their owners with useful information about their environment and are shaped by the special informational needs of the organism with respect to its environment. In this volume, the authors address the long-standing dispute about the usefulness of the notion of representation in the study of behavior systems and offer a fresh perspective on representational systems that combines philosophical insights and experimental experience.
What would something unlike us--a chimpanzee, say, or a computer--have to be able to do to qualify as a possible knower, like us? To answer this question at the very heart of our sense of ourselves, philosophers have long focused on intentionality and have looked to language as a key to this condition. Making It Explicit is an investigation into the nature of language--the social practices that distinguish us as rational, logical creatures--that revises the very terms of this inquiry. Where accounts of the relation between language and mind have traditionally rested on the concept of representation, this book sets out an alternate approach based on inference, and on a conception of certain kinds of implicit assessment that become explicit in language. Making It Explicit is the first attempt to work out in detail a theory that renders linguistic meaning in terms of use--in short, to explain how semantic content can be conferred on expressions and attitudes that are suitably caught up in social practices.
At the center of this enterprise is a notion of discursive commitment. Being able to talk--and so in the fullest sense being able to think--is a matter of mastering the practices that govern such commitments, being able to keep track of one's own commitments and those of others. Assessing the pragmatic significance of speech acts is a matter of explaining the explicit in terms of the implicit. As he traces the inferential structure of the social practices within which things can be made conceptually explicit, the author defines the distinctively expressive role of logical vocabulary. This expressive account of language, mind, and logic is, finally, an account of who we are.
Representations—in visual arts and in fiction—play an important part in our lives and culture. Kendall Walton presents here a theory of the nature of representation, which illuminates its many varieties and goes a long way toward explaining its importance. Drawing analogies to children’s make believe activities, Walton constructs a theory that addresses a broad range of issues: the distinction between fiction and nonfiction, how depiction differs from description, the notion of points of view in the arts, and what it means for one work to be more “realistic” than another. He explores the relation between appreciation and criticism, the character of emotional reactions to literary and visual representations, and what it means to be caught up emotionally in imaginary events.
Walton’s theory also provides solutions to the thorny philosophical problems of the existence—or ontological standing—of fictitious beings, and the meaning of statements referring to them. And it leads to striking insights concerning imagination, dreams, nonliteral uses of language, and the status of legends and myths.
Throughout Walton applies his theoretical perspective to particular cases; his analysis is illustrated by a rich array of examples drawn from literature, painting, sculpture, theater, and film. Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
Seeking to move beyond the customary limits of archaeological prose and representation, Subjects and Narratives in Archaeology presents archaeology in a variety of nontraditional formats. The volume demonstrates that visual art, creative nonfiction, archaeological fiction, video, drama, and other artistic pursuits have much to offer archaeological interpretation and analysis.
Chapters in the volume are augmented by narrative, poetry, paintings, dialogues, online databases, videos, audio files, and slideshows. The work will be available in print and as an enhanced ebook that incorporates and showcases the multimedia elements in archaeological narrative. While exploring these new and not-so-new forms, the contributors discuss the boundaries and connections between empirical data and archaeological imagination.
Both a critique and an experiment, Subjects and Narratives in Archaeology addresses the goals, advantages, and difficulties of alternative forms of archaeological representation. Exploring the idea that academically sound archaeology can be fun to create and read, the book takes a step beyond the boundaries of both traditional archaeology and traditional publishing.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press