Sentence examples for instance of a work from inspiring English sources

And Eagleton chooses as his prime instance of a work that examines these questions of life and death not a play but a novel, "The Magic Mountain," by Thomas Mann. "Life and death, the novel reflects, are perhaps just different viewpoints on the same reality".

In brief, it appears that in painting and related artforms, such as drawing, watercolor, and the like (where there is only one instance of a work), but also in etching, woodcut, and the like (where there can be multiple instances of the same work), aspects of the work's history of production are indeed essential to the identity of the work.

Some argue that although we might attain an authentic instance of a work, the idea that we might thereby hear the work as its contemporaries heard it is wishful thinking, since the musical culture in which we are immersed enforces ways of listening upon us that we cannot escape (Young 1988, 232 7).

Although deciding between theories of musical ontology is always to some extent a matter of finding a balance between the benefits of a theory and its cost in terms of our pre-theoretic intuitions, action theories have a particularly hard row to hoe since they imply that an instance of a work is some action performed by a composer, rather than a performance.

The first instance of a work by a major composer being heard on record before any public performance was Delius's Air and Dance.

Playing a videogame essentially involves the prescribed creation of new display instances of a work.

So much of digital art is networked and so much of networked digital art prescribes Internet users to modify or collaboratively build particular display instances of a work.

Unlike much literature, the instances of a work are performances, which offer interpretations of the work, yet the work can also be interpreted independently of any performance, and performances themselves can be interpreted.

Notice, however, how the question of identity is here sharply distinct from the question of value: "the most miserable performance without actual mistakes does count as [a genuine instance of a work], while the most brilliant performance with a single wrong note does not" (Goodman 1976, 186).

One issue, however, is whether traditional criteria (or others as may be posed) are sufficiently specific so as to skirt vagueness problems that all such artifacts may face (Thomasson 2005) and provide markers of being a bona fide instance of a multiple work or a replica of all other bona fide instances (Goodman 1968/1976).

Thus, for instance, appropriate appreciation of a work such as Picasso's Guernica (1937) requires that we experience it as a painting and moreover as a cubist painting, and therefore that we appreciate it in light of our knowledge of paintings in general and of cubist paintings in particular (Walton 1970).