Analytical philosophy, with its thesis of physical-logical parallelism, held a fundamental and strong position in the field of science in the 20th century. In addition to the revolution it created in the field of mathematics and logic, propositional semantic theories in semantics are also based on this philosophy. Although widely used in formal analysis of artworks, it is not very common to use content analysis for content by an aproach that considers contents prior to form. This is due to the fact that the contents of the artworks are more contextual than the form, and that the assumption of principle of compositionality takes the components as a prior and decisive factor against the whole. However, propositional semantic theories, at least possible worlds semantics and Fregean semantic suggests that there is also a strong link between the context and the meanings of expressions. For areas such as art history, it is essential to evaluate the meanings of the images depending on the context in which the image is produced or used. This article, after intuitively basing and introducing the concept of Frege’s context princible and the concept of “presentation mode” by the images such as Vertumnus, Poseidon, swastika, Superman, supposes “Venus” image as a constituent of visual culture, and analyzes its meaning in different historical contexts (circumstances of evaluation). Thus, it is aimed to show that a historical perspective can be established by analyzing the meanings of images and to present semantic analysis as a method that can be used in the field of art history.
: Frege’s context princible, Presentation mode, Compositionality, Semantics, Art history
|Author :||Ulaş Önder|
|Number of pages:||268-286|