File Name: susanne langer feeling and form a theory of art .zip
- 3. Susanne Langer on Representation and Emotion in Music
- Dance, Knowledge, and Power
- Schopenhauer’s Aesthetics
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Philosophy of music is the study of fundamental questions about the nature and value of music and our experience of it. However, unlike philosophy of science, say, the target of philosophy of music is a practice most people have a significant background in, merely as a result of being members of a musical culture. Thus, as with the central questions of metaphysics and epistemology, not only can most people quickly grasp the philosophical questions music raises, they tend to have thought about some of those questions before encountering the academic discipline itself. This is as good a place as any to note that I, like most in the English-speaking philosophical world, focus exclusively on Western musical traditions. For criticism of this tendency, see Alperson For some exceptions to it, see S.
Recognition came late in his life, however, starting only in with the publication of a review article by J. Schopenhauer held that the character of the will qua thing in itself—blind urge—expresses itself in the perpetual strivings of living creatures and in the forces of inorganic matter. Grounding his proto-Darwinian philosophy of nature in his metaphysics and the empirical sciences of his day, Schopenhauer viewed nature as an arena where living beings compete to survive and procreate, where species adapt to environmental conditions, and, most emphasized by Schopenhauer, where sentient beings suffer as virtual slaves to their will to life [ Wille zum Leben ]. This is a view that has seldom been defended in the history of Western thought and became a potent philosophical problem for Nietzsche and atheist existentialists. Mitigating his pessimism somewhat, Schopenhauer does see a salutary role for the intellect in human life.
Introduction Susanne K. Her theory remains, in spite of fundamental weaknesses, a significant contribution to the philosophy of music. In the second part I shall try to relate her theory of music to more recent theories of the role of emotion in music. Langer and Kivy also differ as to what would constitute a proper account of the expressive properties of music. I will return to these matters when trying to sketch out some of the options regarding the expressive qualities of music. You are not authenticated to view the full text of this chapter or article. This site requires a subscription or purchase to access the full text of books or journals.
3. Susanne Langer on Representation and Emotion in Music
Aesthetics may be defined narrowly as the theory of beauty, or more broadly as that together with the philosophy of art. The traditional interest in beauty itself broadened, in the eighteenth century, to include the sublime, and since or so the number of pure aesthetic concepts discussed in the literature has expanded even more. Traditionally, the philosophy of art concentrated on its definition, but recently this has not been the focus, with careful analyses of aspects of art largely replacing it. Philosophical aesthetics is here considered to center on these latter-day developments. Thus, after a survey of ideas about beauty and related concepts, questions about the value of aesthetic experience and the variety of aesthetic attitudes will be addressed, before turning to matters which separate art from pure aesthetics, notably the presence of intention. The concepts of expression, representation, and the nature of art objects will then be covered.
Dance, Knowledge, and Power
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Susanne K. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. I endeavor to show how her work provides a practical, conceptual system for understanding dance as an a-linguistic form of meaning-making, bodily experience, and knowledge. This is a preview of subscription content, access via your institution. Rent this article via DeepDyve.
Ты вскрыла мою электронную почту.
Обычно они лишь уменьшали их яркость; кодекс чести гарантировал, что никто в их отсутствие к терминалу не прикоснется. К черту кодекс чести, - сказала она. - Посмотрим, чем ты тут занимаешься. Окинув быстрым взглядом находящееся за стеклом помещение шифровалки, Сьюзан включила кнопку яркости. Вспыхнувший экран был совершенно пуст.
Кармен. Ту, что работает в столовой. Бринкерхофф почувствовал, как его лицо заливается краской. Двадцатисемилетняя Кармен Хуэрта была поваром-кондитером в столовой АН Б. Бринкерхофф провел с ней наедине несколько приятных и, как ему казалось, тайных встреч в кладовке.
Сьюзан было запротестовала, но Стратмор не дал ей говорить. - Вы меня не знаете, молодой человек. Я рисковал всю свою жизнь. Хотите меня испытать. Что ж, попробуйте! - Он начал нажимать кнопки мобильника. - Ты меня недооценил, сынок.
Susanne K. Langer. FEELING. AND. FORM. A THEORY OF ART. D E V E L O P E D F R O M Philosophy in a New Key. CHARLES SCRIBNER'S SONS NEW.
Пора отсюда сматываться. - Куда ты девал мои бутылки? - угрожающе зарычал парень. В его ноздрях торчала английская булавка. Беккер показал на бутылки, которые смахнул на пол. - Они же пустые.