Hostname: page-component-586b7cd67f-g8jcs Total loading time: 0 Render date: 2024-11-26T10:44:52.676Z Has data issue: false hasContentIssue false

Percevoir l’expression émotionnelle dans les objets inanimés : l’exemple du vin

Published online by Cambridge University Press:  28 September 2012

Cain Todd*
Affiliation:
Lancaster University

Abstract

ABSTRACT: Amongst inanimate objects, it is generally accepted that at least some art forms, such as music and painting, are capable of being genuinely expressive of emotion, even though it is difficult to understand exactly how. In contrast, although expressive properties can be attributed to non-artworks, such as natural objects or wine, it has often been claimed that such objects cannot be genuinely expressive. Focussing on wine, I argue that once we understand properly the nature of expressiveness, if we allow that music can be expressive there is no good reason to withold the ability to be genuinely expressive from wine.

Type
Articles
Copyright
Copyright © Canadian Philosophical Association 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Références bibliographiques

Cochrane, Tom 2010 «A Simulation Theory of Musical Expressivity», Australasian Journal of Philosophy, vol. 88, no2, p. 117.CrossRefGoogle Scholar
Damasio, Antonio 2000 The Feeling Of What Happens: Body, Emotion and the Making of Consciousness, Londres, Vintage.Google Scholar
Davies, Stephen 2006a The Philosophy of Art, Oxford, Blackwell.Google Scholar
Davies, Stephen 2006b «Artistic Expression and the Hard Case of Pure Music», dans Kieran, Matthew, dir., Contemporary Debates in Aesthetics and the Philosophy of Art, Oxford, Blackwell, p. 179191.Google Scholar
Kramer, Matt 2008 «The Notion of Terroir», dans Allhof, Fritz, dir., Wine and Philosophy, Oxford, Blackwell, p. 225234.Google Scholar
Levinson, Jerrold 2006 «Musical Expressiveness as Hearability-as-expression», dans Kieran, Matthew, dir., Contemporary Debates in Aesthetics and the Philosophy of Art, Oxford, Blackwell, p. 192204.Google Scholar
Noordhof, Paul 2008 «Expressive Perception as Projective Imagining», Mind and Language, vol. 23, p. 329–58.CrossRefGoogle Scholar
Robinson, Jennifer 1998 «The Expression and Arousal of Emotion in Music», dans Alperson, P., dir., Musical Worlds: New Directions in the Philosophy of Music, University Park (PA), Penn State University Press, p. 1322.Google Scholar
Scruton, Roger 2007 «The Philosophy of Wine», dans Smith, Barry C., dir., Questions of Taste: The Philosophy of Wine, Oxford, Signal Books, p. 120.Google Scholar
Scruton, Roger 2009 I Drink Therefore I Am: A philosopher’s guide to wine, Londres, Continuum.Google Scholar
Todd, Cain 2010 The Philosophy of Wine, Londres, Acumen.Google Scholar
Violentyev, A., Shimojo, S. et Shams, L. 2005 «Touch-induced Visual Illusion», Neuroreport, vol. 16, no10, p. 11071110.CrossRefGoogle ScholarPubMed
Walton, Kendall 1970 «Categories of Art», The Philosophical Review, vol. 79, p. 334367.CrossRefGoogle Scholar
Walton, Kendall 1999 «Projectivism, Empathy, and Musical Tension», Philosophical Topics, vol. 26, p. 407440.CrossRefGoogle Scholar