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Cover -- Half Title Page -- Title Page -- Copyright Page -- Original Title Page -- Original Copyright Page -- Contents -- General Editor's Preface -- 1 Imagination and the Association of Ideas -- 2 Coleridge's Distinction between Fancy and Imagination -- 3 Symbol and Concept -- Bibliography -- Index
First published in 1969, this book provides a concise and helpful introduction to the terms ‘fancy’ and ‘imagination’. Although they are generally associated with Samuel Taylor Coleridge, the work begins with a discussion the history of these concepts which were also known to Aristotle, the Elizabethans, Hobbes, Locke and Blake. It then goes on to examine Coleridge’s theory of imagination and the distinction he drew between fancy and imagination. This work will be of particular interest to those studying Coleridge and the Romantic Movement.
First published in 2002. This essay has its origin primarily in some of the remarks on imagination made by Professor Ryle in The Concept of Mind. Reflection on arguments used in that book led the author to make the distinctions which have been indicated by the phrases 'in imagination', with imagination', and the term 'supposal'. This book is mainly a philosophical study of the leading concepts.
Life is filled with emotional highs and lows. Riding the wave of this experience is part of living, but for poet Bernadette Bland, dreaming was even more important. No matter the attitude, mood, or circumstance, Ms. Bland has always believed in the beauty of life. Never to be deterred from her hearts desire, she has ridden her own life wave with an eye to her dreams and an eye to the beauty of nature. In her new poetry collection, Flights of Fancy, Ms. Bland shares her imagery with the outside world. She delves into the lavish splendor of nature in Drifting Grace: Gods Art Show. She peers behind the protective mask of a weeping clown in Behind the Mask. She recalls watching her mother slowly grow old in the poignant Mama. In all her words, she reveals her deepest yearnings and fears with selfless honesty. Flights of Fancy is an example of an imagination set free. Ms. Bland fills her poetry with wonder and will leave you longing to step out into the sun. She is not afraid to depict the sometimes traumatic rollercoaster of life; yet she encourages us to move on, move up, and not look back. Within every word, she calls to the reader, challenging each one of us to never stop dreaming!
Visual calculating in shape grammars aligns with art and design, bridging the gap between seeing (Coleridge's “imagination”) and combinatoric play (Coleridge's “fancy”). In Shapes of Imagination, George Stiny runs visual calculating in shape grammars through art and design—incorporating Samuel Taylor Coleridge's poetic imagination and Oscar Wilde's corollary to see things as they aren't. Many assume that calculating limits art and design to suit computers, but shape grammars rely on seeing to prove otherwise. Rules that change what they see extend calculating to overtake what computers can do, in logic and with data and learning. Shape grammars bridge the divide between seeing (Coleridge's “imagination, or esemplastic power”) and combinatoric play (Coleridge's “fancy”). Stiny shows that calculating without seeing excludes art and design. Seeing is key for calculating to augment creative activity with aesthetic insight and value. Shape grammars go by appearances, in a full-fledged aesthetic enterprise for the inconstant eye; they answer the question of what calculating would be like if Turing and von Neumann were artists instead of logicians. Art and design are calculating in all their splendid detail.