Economics Dictionary of ArgumentsHome | |||
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Representation, philosophy: representations are adopted internal conditions, such as visual imaginations or linguistic completions, which set in as associations or are possibly developed by reconstruction. In a wider sense, sentences, words, and symbols are representations within a character system. See also truth maker, idea, sentences, propositions, intensions, correspondence, speech act theory._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. | |||
Author | Concept | Summary/Quotes | Sources |
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Nelson Goodman on Representation - Dictionary of Arguments
III 16 Representation/Goodman: an object is to itself similar to the highest degree, but rarely represents itself. Similarity is, unlike representation, reflexive. A painting can represent the Duke of Wellington, but the Duke is not the painting. A painting of the castle of Marlborough Constable is more similar to any other image, than to the castle and yet it represents the castle and not another picture, not even the most faithful copy. >Similarity, >Terminology/Goodman. III 21 Denotation: Goodman: denotation is the core of representation and regardless of similarity. (Non-representational: verbal, non-pictural). >Denotation, >Picture. An image never merely represents x, but x as a man, or x as a mountain. But not there is not always a "representation-as": a "man-image" represents an indefinite man, not "as" a certain man. III 36f To represent the first Duke of Wellington means, to represent Arthur Wellesley and a soldier, but not necessarily to represent him as a soldier, because some pictures of him are civilian images. Representations are therefore images that operate in the same manner as descriptions. ((s) E.g. something alienated does not represent (and does not denote) the original.) III 50 Representation/Goodman: a representation is, like the description, denotative. It is not a reflection. It is not a language. >Language. III 94 Definition representation and description/Goodman: referring a symbol to things to which it is true (see expression). III 214f The so often emphasized difference between iconic and other characters is transitory and trivial. And yet such a drastic reform was imperative. It allows full relativity of representation and representation by other than through images alone. Objects and events, visual and nonvisual can be represented by both visual and non-visual symbols. >Symbols. E.g. colors can represent their complementary colors, perspective can be reversed, and so on. >Colour. "Naturalism" is a matter of habit. But the habit does not take us to the border line between description and representation. Not any amount of familiarity makes the passage an image. E.g. electronic music without notation can be representational, while music in standard notation if even denoted, is descriptive. >Description._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition. |
G IV N. Goodman Catherine Z. Elgin Reconceptions in Philosophy and Other Arts and Sciences, Indianapolis 1988 German Edition: Revisionen Frankfurt 1989 Goodman I N. Goodman Ways of Worldmaking, Indianapolis/Cambridge 1978 German Edition: Weisen der Welterzeugung Frankfurt 1984 Goodman II N. Goodman Fact, Fiction and Forecast, New York 1982 German Edition: Tatsache Fiktion Voraussage Frankfurt 1988 Goodman III N. Goodman Languages of Art. An Approach to a Theory of Symbols, Indianapolis 1976 German Edition: Sprachen der Kunst Frankfurt 1997 |