Part of
Operationalizing Iconicity
Edited by Pamela Perniss, Olga Fischer and Christina Ljungberg
[Iconicity in Language and Literature 17] 2020
► pp. 231244
References (30)
References
Alberti, L. B. 1956. On Painting, trans. J. R. Spencer. New Haven, CT: Yale University Press.Google Scholar
Anderson, E. A. 1998. A Grammar of Iconism. Madison, NJ: Fairleigh Dickinson University Press.Google Scholar
Arnheim, R. 1960. Art and Visual Perception: A Psychology of the Creative Eye. Berkeley, CA: University of California Press.Google Scholar
1982. The Power of the Center: A Study of Composition in the Visual Arts. Berkeley, CA: University of California Press.Google Scholar
Bazin, A. 2005. Cinematic realism. In The Philosophy of Film: Introductory Text and Readings, T. E. Wartenberg and A. Curran (eds), 59–69. Oxford: Blackwell.Google Scholar
Briggs, A. and Burke, P. 2005. A Social History of the Media: From Gutenberg to the Internet. Cambridge: Polity Press.Google Scholar
Carroll, N. 1995. Towards an ontology of the moving image. In Philosophy and Film, C. A. Freeland and T. E. Wartenberg (eds), 68–88. New York: Routledge.Google Scholar
Dutton, D. 2009. The Art Instinct: Beauty, Pleasure, and Human Evolution. Oxford: Oxford University Press.Google Scholar
Frazer, J. 2002 [1922]. The Golden Bough: A Study in Religion and Magic. Mineola, NY: Dover Publication.Google Scholar
Gaut, B. 2010. A Philosophy of Cinematic Art. Cambridge: Cambridge University Press. DOI logoGoogle Scholar
Gombrich, E. H. 1995. Shadows. The Depiction of Cast Shadows in Western Art. London: National Gallery.Google Scholar
Goudge, T. A. 1965. Peirce’s index. Transactions of the Charles S. Peirce Society 1(2): 52–70.Google Scholar
Harding, C. and Popple, S. 1996. In the Kingdom of Shadows: A Companion to Early Cinema. London: Fairleigh Dickinson University Press.Google Scholar
Homer. 1980. The Odyssey, trans. W. Shewring. Oxford: Oxford University Press.Google Scholar
Jappy, T. 2013. Introduction to Peircean Visual Semiotics. London: Bloomsbury.Google Scholar
Jarvie, I. 1987. Philosophy of the Film: Epistemology, Ontology, Aesthetics. New York: Routledge & Kegan Paul.Google Scholar
Kaplan, S. 1992. Environmental preference in a knowledge-seeking, knowledge-using organism. In The Adapted Mind: Evolutionary Psychology and the Generation of Culture, J. H. Barkow, L. Cosmides, and J. Tooby (eds), 581–598. New York, NY: Oxford University Press.Google Scholar
Orians, G. H., and Heerwagen, J. H. 1992. Evolved responses to landscapes. In The Adapted Mind: Evolutionary Psychology and the Generation of Culture, J. H. Barkow, L. Cosmides, and J. Tooby (eds), 555–579. New York, NY: Oxford University Press.Google Scholar
Ovid. 2002. Metamorphoses, trans. A. Golding. London: Penguin.Google Scholar
Peirce, C. S. 1998. Collected Papers of Charles Sanders Peirce, C. Hartshorne and P. Weiss (eds). Vol. II. Bristol: Thoemmes Press.Google Scholar
Rogers, F. R. and Rogers, M. A. 1986. Painting and Poetry: Form, Metaphor, and the Language of Literature. Lewisburg, PA: Bucknell University Press.Google Scholar
2018. The Semiotics of Light and Shadows: Modern Visual Arts and Weimar Cinema. London: Bloomsbury Academic.Google Scholar
Schiffman, H. R. 1996. Sensation and Perception: An Integrated Approach. New York: John Wiley & Sons.Google Scholar
Solso, R. L. 1997. Cognition and the Visual Arts. Cambridge, MA: MIT Press.Google Scholar
Sontag, S. 1978. On Photography. London: Allen Lane.Google Scholar
Stoichita, V. I. 1997. A Short History of the Shadow. London: Reaktion.Google Scholar
Thompson, K, and Bordwell, D. 2003. Film History: An Introduction. New York, NY: McGraw-Hill.Google Scholar
Trachtenberg, A. (ed). 1980. Classic Essays on Photography. New Haven, CT: Leete’s Island Books.Google Scholar
Walton, K. L. 2005. Film, photography, and transparency. In The Philosophy of Film: Introductory Text and Readings, T. E. Wartenberg and A. Curran (eds), 70–76. Oxford: Blackwell.Google Scholar