Philosophic Foundations Of Genetic Psychology And Gestalt Psychology

XVI Psychologists have, however, shown that what we are primarily aware of is not a succession of sense-data but figures-ground phenomena: Wittgenstein's ambiguous duck-rabbit is merely one such example. They have also drawn our attention to the existence of tertiary qualities in perception, such as 'symmetry' and 'elegance' which are just as directly given as are the perceived colours red, green or yellow. It is interesting to note that Merleau-Ponty has made considerable use of Gestalt ideas in his Phenomenology of Perception. One of the commonest reasons given by linguistic philosophers for not making direct use of the results of psychological research (although philosophers are usually willing to accept the first-hand results of physical science) is that philosophical accounts of perception and thinking are concerned with analysing the language in which these reports are made; that is to say, they are second-order enquiries. Often this approach is still more restricted and ordinary linguistic usage is taken as the yardstick against which questions relating to thought and perception are to be measured. The task of the philosopher is then con fined to the analysis of ordinary language. If he is more adventurous, as some writers on philosophical psychology are, he might go on to show how far the language used by psychological researchers falls short of the paradigms of common sense.

First multi-year cumulation covers six years: 1965-70.

"... the details of Saint-Martin's argument contain a wealth of penetrating observations from which anyone with a serious interest in visual communication will profit." -- Journal of Communication Saint-Martin elucidates a syntax of visual language that sheds new light on nonverbal language as a form of representation and communication. She describes the evolution of this language in the visual arts as well as its multiple uses in contemporary media. The result is a completely new approach for scholars and practitioners of the visual arts eager to decode the many forms of visual communication.

Brown proposes a theory of poetic metaphor that attempts to account for literature's complex role in the discovery and creation of significant patterns within both language and life. He shows that while poetic and conceptual modes of discover are different, they are nevertheless mutually interdependent. In particular, Brown offers a new view of the way in which theological and metaphysical concepts grow out of, and are transfigured by, metaphoric expression. This view is expressed in a detailed and original analysis of the structure and dynamics of T.S. Eliot's Four Quartets that lies at the heart of the study. Originally published in 1983. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.