Nelson Goodman (1978) argues that the conditions for distinguishing right from wrong are not based on comparison with a "world undescribed, undepicted, unperceived" (p.4).
There isn't much to see Beyond that, for the important questions, The questions to which one constantly comes back, Aren't about their lost, undepicted home, But the ones framed by their distorted mouths: What are we now?
Whatever is unnamed, undepicted in images, whatever is omitted from biography censored in collections of letters, whatever is misnamed as something else, made difficult to come by, whatever is buried in the memory by the collapse of meaning under an inadequate or lying language this will become not only unspoken but unspeakable.(24)
She argues that in Anna Karenina, as in his later works, Tolstoi approved and applied a type of depiction which was to 'infect' the reader with a sense of the undepicted and the undepictable; that this is closer to the traditionally masculine notion of the 'sublime' than to 'the beautiful' (associated with mimesis of the framed female).