Viewers lack a rule that will enable them to derive the proposition th translation - Viewers lack a rule that will enable them to derive the proposition th Indonesian how to say

Viewers lack a rule that will enabl

Viewers lack a rule that
will enable them to derive the proposition that fascism is evil from the painting.
At most, Guemica may be said to contain the information that some people were
dismembered. One cannot, however, validly infer from this inforrnation the
conclusion that fascism is evil.
In spite of these arguments, pictures might seem to contain information.
Someone might hold that a photograph of Churchill contains the information that
he had a nose. One could say. in defence of this view, that rules exist for the
interpretation of such a picture. Given these rules, one might argue, it is possible
to say that the picture states that Churchill had a nose. In responding to this
argument, we need to recall the difference between deriving information from an
object and extracting stored propositional knowledge. Nothing I have said should
be taken to deny that information can be derived from pictures. Neither do I deny

ART AND KNOWLEDGE
functioning qua pictures, they would represent different objects. On the contrary,
however, they represent precisely the same state of affairs. Hence. they are
functioning qua conventional signs.
Since statements are vehicles of information, and pictures are not, pictures are
not statements. Since pictures in general are not statements, works of pictorial art
in particular are not statements. A -painting by Canaletto of San Marco, for
example, represents San Marco, but it does not make any statements about the
Venetian cathedral. In other words, the picture is not a semantic representation. If
it represents at all, it is an illustrative representation. This point is quite general.
Many paintings, drawings and other works of visual art are clearly
representational. Since they are not semantic representations, they must be
illustrations. Even if works of visual art are illustrations, however, one might
think that the other arts do not employ illustrative representation. The coming
sections are designed to show that they do.
Representation in literature
Of all the arts, the literary arts seem most likely to yield examples of semantic
representation. Iheir medium is language, and language is the medium of
semantic representation par excellence. Counting against this consideration is the
fact üiat most of the sentences in most works of literature are false and falsehoods
cannot be semantic representations. Although most sentences in works of
literature are false, perhaps they nevertheless state truths. According to one
proposal, works of literature, including novels, poems and short stories, obliquely
make statements. That is. the falsehoods of which they are composed somehow
imply true statements. An alternative proposal suggests that literal falsehoods can
rue in another, non-literal sense. If so, a collection of false sentences might
still amount to a semantic representation. Neither of these proposals is acceptable.
Illustmtion is the primary forrn of representation in the literary arts.
Let us begin with proposal that sentences in works of literature are true in
a non-literal sense. This suggestion is frequently heard in discussions of
rnetaphor. It is suggested. for example, that 'Juliet is the sun' is literally false but
metaphorically true. ne sentence is literally false since Juliet is not a huge,
ball of luminous gasses. Still, many people think, the sentence can
used to make a true statement. Something similar might be said about tre
sentences that compose works Of literature. One might think that these sentences
can have two truth-values: literal falsehood but non-literal truth. So. for example.
sentetEes in Pride and Prejudice literally (and falsely) state that Elizabeth Bennet
was slighted by Fitzwilliam Darcy at a ball. Il)ese same sentences may non-
literally (and truly) state that first impressions are a poor guide to a person's as information. We do not say that someone who possesses knowledge of how to
do something possesses information.
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Pemirsa tidak memiliki aturan yang akan memungkinkan mereka untuk memperoleh proposisi fasisme jahat dari lukisan. Paling-paling, Guemica dapat dikatakan mengandung informasi yang beberapa orang yang dipotong-potong. Satu tidak bisa, bagaimanapun, secara sahih menyimpulkan dari inforrnation ini kesimpulan bahwa fasisme jahat. Walaupun argumen-argumen ini, gambar mungkin tampaknya berisi informasi. Seseorang mungkin memegang bahwa foto Churchill berisi informasi yang Dia memiliki hidung. Orang bisa mengatakan. dalam pertahanan dari pandangan ini, yang ada aturan untuk interpretasi seperti gambar. Diberikan aturan-aturan ini, salah satu mungkin berpendapat, mungkin untuk mengatakan bahwa gambar menyatakan bahwa Churchill memiliki hidung. Dalam menanggapi hal ini argumen, kita perlu ingat perbedaan antara berasal informasi dari objek dan mengekstrak disimpan propositional pengetahuan. Tidak ada kata saya harus diambil untuk menyangkal bahwa informasi bisa berasal dari gambar. Tidak menyangkal  SENI DAN PENGETAHUAN berfungsi qua gambar, mereka akan mewakili objek yang berbeda. Sebaliknya, Namun, mereka mewakili tepat sama keadaan. Oleh karena itu. mereka berfungsi qua tanda konvensional. Karena pernyataan kendaraan informasi, dan gambar tidak, gambar-gambar yang bukan pernyataan. Karena gambar pada umumnya tidak pernyataan, karya seni bergambar khususnya yang tidak pernyataan. - Lukisan oleh Canaletto San Marco, untuk contoh, mewakili San Marco, tapi itu tidak membuat pernyataan tentang Venetian cathedral. In other words, the picture is not a semantic representation. If it represents at all, it is an illustrative representation. This point is quite general. Many paintings, drawings and other works of visual art are clearly representational. Since they are not semantic representations, they must be illustrations. Even if works of visual art are illustrations, however, one might think that the other arts do not employ illustrative representation. The coming sections are designed to show that they do. Representation in literature Of all the arts, the literary arts seem most likely to yield examples of semantic representation. Iheir medium is language, and language is the medium of semantic representation par excellence. Counting against this consideration is the fact üiat most of the sentences in most works of literature are false and falsehoods cannot be semantic representations. Although most sentences in works of literature are false, perhaps they nevertheless state truths. According to one proposal, works of literature, including novels, poems and short stories, obliquely make statements. That is. the falsehoods of which they are composed somehow imply true statements. An alternative proposal suggests that literal falsehoods can rue in another, non-literal sense. If so, a collection of false sentences might still amount to a semantic representation. Neither of these proposals is acceptable. Illustmtion is the primary forrn of representation in the literary arts.
Let us begin with proposal that sentences in works of literature are true in
a non-literal sense. This suggestion is frequently heard in discussions of
rnetaphor. It is suggested. for example, that 'Juliet is the sun' is literally false but
metaphorically true. ne sentence is literally false since Juliet is not a huge,
ball of luminous gasses. Still, many people think, the sentence can
used to make a true statement. Something similar might be said about tre
sentences that compose works Of literature. One might think that these sentences
can have two truth-values: literal falsehood but non-literal truth. So. for example.
sentetEes in Pride and Prejudice literally (and falsely) state that Elizabeth Bennet
was slighted by Fitzwilliam Darcy at a ball. Il)ese same sentences may non-
literally (and truly) state that first impressions are a poor guide to a person's as information. We do not say that someone who possesses knowledge of how to
do something possesses information.
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Pemirsa tidak memiliki aturan yang
akan memungkinkan mereka untuk memperoleh proposisi bahwa fasisme adalah jahat dari lukisan itu.
Paling-paling, Guemica dapat dikatakan berisi informasi bahwa beberapa orang
dipotong-potong. Satu tidak bisa, bagaimanapun, secara sah menyimpulkan dari inforrnation ini
kesimpulan bahwa fasisme adalah jahat.
Meskipun argumen ini, gambar mungkin tampaknya berisi informasi.
Seseorang mungkin berpendapat bahwa sebuah foto Churchill berisi informasi yang
ia punya hidung. Orang bisa mengatakan. membela pandangan ini, bahwa aturan ada untuk
interpretasi seperti gambar. Mengingat aturan ini, orang mungkin berpendapat, adalah mungkin
untuk mengatakan bahwa gambar menyatakan bahwa Churchill memiliki hidung. Dalam menanggapi hal ini
argumen, kita perlu mengingat perbedaan antara berasal informasi dari
objek dan ekstraksi pengetahuan proposisional disimpan. Tidak ada yang saya katakan harus
diambil untuk menyangkal bahwa informasi dapat berasal dari gambar. Aku pun tidak menyangkal

SENI DAN PENGETAHUAN
gambar fungsi qua, mereka akan mewakili objek yang berbeda. Sebaliknya,
bagaimanapun, mereka mewakili justru negara yang sama urusan. Karenanya. mereka
berfungsi qua tanda-tanda konvensional.
Karena laporan adalah kendaraan informasi, dan gambar yang tidak, gambar yang
bukan pernyataan. Sejak gambar pada umumnya tidak pernyataan, karya seni bergambar
khususnya tidak pernyataan. Sebuah -painting oleh Canaletto dari San Marco, untuk
misalnya, mewakili San Marco, tetapi tidak membuat pernyataan tentang
katedral Venetian. Dengan kata lain, gambar tidak representasi semantik. Jika
itu mewakili sama sekali, itu adalah representasi ilustratif. Hal ini cukup umum.
Banyak lukisan, gambar dan karya seni lainnya visual jelas
representasional. Karena mereka tidak representasi semantik, mereka harus
ilustrasi. Bahkan jika karya seni visual ilustrasi, bagaimanapun, orang mungkin
berpikir bahwa seni lainnya tidak menggunakan representasi ilustrasi. Kedatangan
bagian dirancang untuk menunjukkan bahwa mereka lakukan.
Representasi dalam literatur
Dari semua seni, seni sastra tampaknya paling mungkin untuk menghasilkan contoh semantik
representasi. Media Iheir adalah bahasa, dan bahasa adalah media
semantik excellence representasi par. Menghitung terhadap pertimbangan ini adalah
fakta üiat sebagian besar kalimat di sebagian besar karya sastra adalah palsu dan kebohongan
tidak bisa representasi semantik. Meskipun sebagian besar kalimat dalam karya
sastra adalah palsu, mungkin mereka tetap kebenaran negara. Menurut salah satu
usulan, karya sastra, termasuk novel, puisi dan cerita pendek, miring
membuat pernyataan. Itu adalah. -kebohongan yang mereka terdiri entah bagaimana
menyiratkan pernyataan benar. Usulan alternatif menunjukkan bahwa kebohongan literal dapat
menyesali dalam, pengertian non-literal lain. Jika demikian, koleksi kalimat palsu mungkin
masih berjumlah representasi semantik. Tak satu pun dari proposal ini dapat diterima.
Illustmtion adalah forrn utama representasi dalam seni sastra.
Mari kita mulai dengan proposal yang kalimat dalam karya sastra yang benar dalam
arti non-literal. Saran ini sering terdengar dalam diskusi dari
rnetaphor. Hal ini disarankan. misalnya, bahwa 'Juliet adalah matahari' secara harfiah palsu tapi
metaforis benar. ne kalimat secara harfiah palsu karena Juliet tidak besar,
bola gas bercahaya. Namun, banyak orang berpikir, kalimat dapat
digunakan untuk membuat pernyataan yang benar. Hal serupa bisa dikatakan tentang tre
kalimat yang membentuk karya sastra. Orang mungkin berpikir bahwa kalimat ini
dapat memiliki dua kebenaran-nilai: kepalsuan literal tapi sebenarnya non-literal. Begitu. misalnya.
sentetEes di Pride and Prejudice harfiah (dan palsu) menyatakan bahwa Elizabeth Bennet
itu diremehkan oleh Fitzwilliam Darcy di bola. Il) ese kalimat yang sama mungkin non-
harfiah (dan benar-benar) menyatakan bahwa kesan pertama adalah panduan miskin untuk seseorang yang informasi. Kami tidak mengatakan bahwa seseorang yang memiliki pengetahuan tentang bagaimana
melakukan sesuatu memiliki informasi.
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