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Table of Contents
Series Title Page
Title Page
Copyright Page
CONTENTS
ACKNOWLEDGMENTS
INTRODUCTION
I. PURPOSE AND STRATEGY OF THE BOOK
II. MY PAST AFFAIR WITH NONSENSE
III. RECENT STUDIES RELATED TO NONSENSE
IV. THE FIVE DOMAINS
CHAPTER 1: Nonsense: Usage and Uses
I. SOME USES OF THE WORD "NONSENSE"
II. SENSE IN NONSENSE
CHAPTER 2: Metaphor and Nonsense
I. PREFACE
A. Preliminary
B. Introduction
II. METAPHORS, COMMON AND EXTREME
A. Metaphor: Capturing an Essence
B. Two Types of Visual Metaphor
C. Metaphor as Double Vision
D. Two Views of Metaphor: Conflict or Reconciliation?
III. METAPHOR AND NONSENSE
A. Metaphor and Nonsense
B. Metaphor, Nonsense, and Neuroscience
C. Metaphor and Nonsense, Again (Linguistics and Philosophy)
IV. A NEW THEORY OF METAPHOR
A. A New Theory of Metaphor: Metaphor and Reference
B. Metaphor and Essence (Again)
C. A Transition (With Apologies for a Change of Tone)
CHAPTER 3: The Baroque: Nonsense in Prospect and Retrospect
I. NONSENSE, BETWEEN WORDS AND IMAGES
II. THE BAROQUE AND SYMBOLIC FORM
III. PURE VS. SYMBOLIC FORM
IV. THEORY OF FORMS IN GERMANY, PRACTICE OF FORM IN FRANCE
V. FREUD AND SYMBOLIC FORM
VI. THE BREAKDOWN OF FORMS: NONSENSE TO THE RESCUE, IN THE TWENTIETH AND TWENTY-FIRST CENTURIES
CHAPTER 4: Salutary Nonsense: Keats, Kant, and Madame de Staël
or Inspiration vs. Fanaticism
I. A SOURCE FOR POETRY
II. IS THIS POEM REAL, OR IS IT NONSENSE?
III. KANT, COLERIDGE, AND MADAME DE STAËL
IV. THE "SELF" AND THE SOURCE OF POETRY
V. TRANSIENCE AND PERMANENCE
CHAPTER 5: Neural Nonsense: Neuroaesthetics, Hypnagogia, and the Aesthetics of Nonsense
I. NEUROAESTHETICS AND ITS DISCONTENTS
II. THE EXPERIMENT, NONSENSE, AND METAPHOR
III. NONSENSE, NARRATIVE, INTRUSIONS, AND METAPHOR.
IV. A BIT OF A DIGRESSION: EDWARD LEAR METAPHOR
V. THE FRAME: GOOD AND BAD INTRUSIONS
CHAPTER 6: Perceptual Nonsense: The "Image Made by Chance," Automaticity, and the Aesthetic Universal
I. PATTERNS
A. Perceptual Nonsense: The Image Made by Chance and Pattern Recognition
1. Pattern Recognition
2. Pattern Separation
3. Pattern Completion
B. Perceptual Nonsense: Finding Patterns, and Automatic Recognition of the Aesthetic
1. The Image Made by Chance "Thought Experiment"
2. A Hypothesis, or "Thought Experiment"
C. Creating Patterns: Automatic Production of the Aesthetic
D. Valuing Patterns: Automatic Response to the Aesthetic
E. A Digression: The Secret Life of Sentences
II. KANT AND THE CRITIQUE OF JUDGMENT
A. The Critique of Judgment
B. A Digression: "Inscape," or Escapism?
C. The Object in Aesthetic Theory
D. "Critical Judgment" As Such
E. The Aesthetic Universal and the "Automatic" Genius: Beauty and the Everyday
1. The "Automatic" Genius
2. Beauty and the Everyday
F. The Neuroscientific Connection
III. SOME CONCLUSIONS
A. Automaticity (A Review)
B. Coda and Postscript
C. Post-postscript
CHAPTER 7: Assorted Nonsense
I. NONSENSE VERSUS SENSE IN E. T. A. HOFFMANN (AND KANT'S SOLUTION)
II. NONSENSE IN RITUAL
III. NONSENSE IN KANT
IV. LANGUAGE AS EXPERIENCE
WORKS CITED
INDEX
Series Page.
Title Page
Copyright Page
CONTENTS
ACKNOWLEDGMENTS
INTRODUCTION
I. PURPOSE AND STRATEGY OF THE BOOK
II. MY PAST AFFAIR WITH NONSENSE
III. RECENT STUDIES RELATED TO NONSENSE
IV. THE FIVE DOMAINS
CHAPTER 1: Nonsense: Usage and Uses
I. SOME USES OF THE WORD "NONSENSE"
II. SENSE IN NONSENSE
CHAPTER 2: Metaphor and Nonsense
I. PREFACE
A. Preliminary
B. Introduction
II. METAPHORS, COMMON AND EXTREME
A. Metaphor: Capturing an Essence
B. Two Types of Visual Metaphor
C. Metaphor as Double Vision
D. Two Views of Metaphor: Conflict or Reconciliation?
III. METAPHOR AND NONSENSE
A. Metaphor and Nonsense
B. Metaphor, Nonsense, and Neuroscience
C. Metaphor and Nonsense, Again (Linguistics and Philosophy)
IV. A NEW THEORY OF METAPHOR
A. A New Theory of Metaphor: Metaphor and Reference
B. Metaphor and Essence (Again)
C. A Transition (With Apologies for a Change of Tone)
CHAPTER 3: The Baroque: Nonsense in Prospect and Retrospect
I. NONSENSE, BETWEEN WORDS AND IMAGES
II. THE BAROQUE AND SYMBOLIC FORM
III. PURE VS. SYMBOLIC FORM
IV. THEORY OF FORMS IN GERMANY, PRACTICE OF FORM IN FRANCE
V. FREUD AND SYMBOLIC FORM
VI. THE BREAKDOWN OF FORMS: NONSENSE TO THE RESCUE, IN THE TWENTIETH AND TWENTY-FIRST CENTURIES
CHAPTER 4: Salutary Nonsense: Keats, Kant, and Madame de Staël
or Inspiration vs. Fanaticism
I. A SOURCE FOR POETRY
II. IS THIS POEM REAL, OR IS IT NONSENSE?
III. KANT, COLERIDGE, AND MADAME DE STAËL
IV. THE "SELF" AND THE SOURCE OF POETRY
V. TRANSIENCE AND PERMANENCE
CHAPTER 5: Neural Nonsense: Neuroaesthetics, Hypnagogia, and the Aesthetics of Nonsense
I. NEUROAESTHETICS AND ITS DISCONTENTS
II. THE EXPERIMENT, NONSENSE, AND METAPHOR
III. NONSENSE, NARRATIVE, INTRUSIONS, AND METAPHOR.
IV. A BIT OF A DIGRESSION: EDWARD LEAR METAPHOR
V. THE FRAME: GOOD AND BAD INTRUSIONS
CHAPTER 6: Perceptual Nonsense: The "Image Made by Chance," Automaticity, and the Aesthetic Universal
I. PATTERNS
A. Perceptual Nonsense: The Image Made by Chance and Pattern Recognition
1. Pattern Recognition
2. Pattern Separation
3. Pattern Completion
B. Perceptual Nonsense: Finding Patterns, and Automatic Recognition of the Aesthetic
1. The Image Made by Chance "Thought Experiment"
2. A Hypothesis, or "Thought Experiment"
C. Creating Patterns: Automatic Production of the Aesthetic
D. Valuing Patterns: Automatic Response to the Aesthetic
E. A Digression: The Secret Life of Sentences
II. KANT AND THE CRITIQUE OF JUDGMENT
A. The Critique of Judgment
B. A Digression: "Inscape," or Escapism?
C. The Object in Aesthetic Theory
D. "Critical Judgment" As Such
E. The Aesthetic Universal and the "Automatic" Genius: Beauty and the Everyday
1. The "Automatic" Genius
2. Beauty and the Everyday
F. The Neuroscientific Connection
III. SOME CONCLUSIONS
A. Automaticity (A Review)
B. Coda and Postscript
C. Post-postscript
CHAPTER 7: Assorted Nonsense
I. NONSENSE VERSUS SENSE IN E. T. A. HOFFMANN (AND KANT'S SOLUTION)
II. NONSENSE IN RITUAL
III. NONSENSE IN KANT
IV. LANGUAGE AS EXPERIENCE
WORKS CITED
INDEX
Series Page.