Feeling and form: a theory of art ; developed from "Philosophy in a new key"
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Scribner
[o.J.]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Originally published 1953 |
| Beschreibung: | XVI, 431 S., [6] Bl. Ill., Notenbeisp. 21 cm |
| ISBN: | 0684155389 |
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Datensatz im Suchindex
| _version_ | 1804146093668171776 |
|---|---|
| adam_text | Susanne
К.
Langer
FEELING
AND
FORM
A THEORY OF ART
developed from Philosophy in a New Key
CHARLES SCRIBNER S SONS NEW YORK
CONTENTS
Introduction
vii
Parti
THE ART
SYMBOL
снлртеь
ι
The Measure of Ideas
3
Philosophy the study of basic concepts—rival doctrines a sign of inade¬
quate concepts—art theory full of confusions—its basic problems not
formulated— fallacy of obvious abstraction —methodolgy and method-
generalities and generalizations-requirements of philosophical thinking
—principle of generalization—principle of fecundity—
f
unction of a cen¬
tral problem—problem of artistic creation—systematic emergence of gen¬
eral concepts and special problems—difficulties and promises of this
undertaking.
2
Paradoxes
ia
Key ideas in aesthetics heterogeneous—each gives rise to a special type
of theory—further complication due to two standpoints—expression and
impression—tendency of theories to be paradoxical— polarity of feeling
and form—feelings in art not felt—paradox of objective feeling —
Baensch on feeling as quality—his distinctions—old issue of Significant
Form.
3
The Symbol of Feeling
24
Several meanings of expression —all kinds found in art—most kinds
not peculiar to art—summary of special theory of music in Philosophy
in a New Key—music a symbolic expression of feeling—summary of
semantic theory—articulated
f
orms—
vital import—meaning of significant
form in music—
Clive
Bell and plastic art-Bell on aesthetic emotion
— aesthetic attitude —source of the concept—supposed difficulties of atti¬
tude—criticism of psychological approach—the art symbol—technique-
definition of art.
Partii
THE MAKING OF THE SYMBOL
4
Semblance
45
Aesthetic attitude elicited by the work—illusion—images—their virtual
character—semblance—Schiller on the function of
Schein—
abstraction of
form—form and content—import as content of artistic forms—
Prall
on
sensuous forms—on feeling in art—limitation of his principles—creation
of virtual forms—design as logic of artistic vision—relation to feeling
—movement and growth— living form —creation.
5
Virtual Space
69
Motifs—not works, but devices—suggestive shapes—form and represen¬
tation—pure decoration expressive—representation as motif—visual ar¬
ticulation the aim of all plastic art—shaping of space—actual space and
virtual space—primary illusion of plastic art—its autonomous char-
XIV
CONTENTS
acter—Hildebrand on perceptual space — architectonic process —the
picture plane—third dimension— actual form and perceptual form
—unity of perceptual space—visual values—imitation and creation—space
made visible— life in works of art—expression of vital feeling—nature
of expressiveness —primary illusion the basic creation—elements and
materials—modes.
6
The Modes of Virtual Space
86
Virtual scene —Hildebrand s generalization false—organic form of
sculpture— kinetic volume —subjective space objectified—architecture
and virtual space—arrangement and creation— ethnic domain —organic
articulation of place—relation between sculpture and architecture—au¬
tonomy and unity of the arts.
7
The Image of Time
104
Interest in materials—theories of sound and audition—not musical theory
—nervous responses—vibrations—musical elements are audible forms—
their motion illusory—primary illusion is virtual time—difierence from
clock-time —not one-dimensional—passage not succession of states —
incommensurable tensions—musical time and pure duration—Bergson s
failing—music and Bergson s
durée réélit—
musicians his really construc¬
tive critics—fear of
spatializaţion
unfounded— musical space —paral¬
lels with plastic space-conceptions—further problems.
8
The Musical Matrix
120
Composition and presentation—organic whole the essential conception—
commanding form and composition—not the same as the Urlinie—
principles of art and major devices—many kinds of music—definition of
rhythm—greatest rhythm the commanding form —objectivity of musical
matrix.
9
The Living Work
133
Ambiguity of the piece —inward hearing and physical hearing—poetry
and music not simply comparable—essential factors in physical hearing
—in inward hearing—composition incomplete—performance its comple¬
tion—controlled by musical matrix—utterance—artistic expression and
self-expression—actual feeling for the piece—pathos of the voice—
for¬
malisation—
musical imagination versus mere technique —power of lis¬
tening—developed by practice—radio and records—advantages and dan¬
gers.
10
The Principle of Assimilation
149
Words and music—theory and practice often at variance—words become
musical elements—but not mere sounds— aesthetic surface not the per¬
ceptual form—form swallows foreign materials—poetic forms broken
down-music swallows drama—Staiger on Wagner and
Gluck—
program
music—hermeneutic principles as motifs—irrelevance of associations-
daydream swallows
music—other arts may do so.
11
Virtual Powers
169
Aesthetics of dance presents special difficulties-dance as a musical art
—contrary evidence and views—dance as plastic art—Noverre—as dra¬
matic art—objections—dance an independent art—gesture its basic ab¬
straction—complex nature of gesture—subjective and objective—actual
gestures as material—virtual gesture—vital forces-dance-forces as vir¬
tual powers
—
dancers on self-expression—practice belies theory—imag¬
ined feeling—semblance of self-expression—confusion of actual and vir¬
tual aspects—dance-personages as virtual beings—
Scheingefühle—
analysis
of problems involved—mythical statements resolved—value of the theory.
CONTENTS
XV
12 The Magic
Circle
1
88
Primitive conception of Powers—the Spirit World—
Cassirer
on the
mythic consciousness —sense of power objectified in dance—prehistoric
evolution of dance-Curt Sachs on types of mind-natural forms as
motifs—what is created—illusion of freedom from actual forces—ballet
—dance as apparition-dancer and his world —music as dance-element
—balletic time and space—effect of passive audience—effects of seculari¬
zation—entertainments-effect of dance on music-confusion of thought
and clearness of intuition in dancers—dance as pure art
13
Poesis
208
Literature called art, but treated as statement-discourse its material-
ways of saying things—criticism and paraphrase—
Ι. Λ.
Richards on
understanding poetry—saying and creating—poetic illusion made by dis¬
course—virtual life—all literary art poetic—two senses of life —sem¬
blance of events—subjective form—events the basic abstraction—phi¬
losophy in poetry—fiction and fact—dialect—Tillyard on direct and
oblique poetry—fallacy of deeper meanings —no poetry is statement
—moral themes legitimate—laws of logic and of imagination—art and
life.
14
Life and Its Image
236
Imagination as miscarriage of reason—
Cassirer
on language and imag¬
ination— Barfield on language and myth—Freud on non-discursive sym¬
bols—psychoanalytic meanings not artistic import—artistic import not
hidden—Freud s study of non-discursive logic —principle of over-de¬
termination—of ambivalence—of absence of negatives—of condensation
— dream work and art work—poetic devices and schools—the ideal of
pure
poetiy-poetry
defined as an experience—as a kind of language
—inadequacy of such treatments—poetry as semblance of events admits
all poetic works—all good poetry pure —reality of its import—sources
in actual life—no subject taboo—transformation of fact—prose a poetic
form,
15 Virtual Memory
258
Lyric poetry the clearest case of creative language—not a pre-eminent
art—present tense of the lyric—narrative a major literary device—change
to perfect tense—closed form of past—virtual memory—apparent vagaries
of tense have creative functions—mixed tenses in ballads—myth and
legend literary materials—no composition without personal authorship
—poetry not necessarily oral—literacy and poetic arts.
16
The Great Literary Forms
280
Poetic conventions—literary forms spring from special devices—no abso¬
lute literary values —techniques and creative purposes—strong means
make others superfluous—ballad technique—romance—verse becomes dis-
pensible—prose fiction—novel a recent form—often viewed as comment,
not art—illusion of felt life —story and story-teller—character creation
—Clive
Bell on Proust—secondary illusions in literature—fact as the
model —non-fiction as applied art—exploiting discursive form as motif
—specialization of forms—the epic as matrix of all literary forms.
17
The Dramatic Illusion
306
Drama is poetry, but not literature —basis abstraction the act—mode
of memory and mode of Destiny—virtual future—Morgan on form in
suspense —wholeness of dramatic action—organic form—situation— set¬
ting versus environment —drama a collaborative art—poet furnishes
speeches—speech as culmination of action—must be enacted—ra and
fictive
feeling-theory of dramatic make-believe—Bullough on psychical
XVI CONTENTS
Distance —
drama
as a ritual—as amusement—as work-of-all-arts—Hindu
theory—belied by Hindu stage- practice—drama as dance—drama swal¬
lows dancing—Rasa—Oriental drama enacts physical objects—all ele¬
ments of drama poetic.
18
The Great Dramatic Forms: The Comic Rhythm
326
Moralism
in dramatic theory—comedy as social criticism—tragic and
comic as points of view—really different structures—universal sense of
life—life and death—the comic rhythm—destiny as Fortune—the tragic
rhythm—destiny as Fate—serious comedy— Divine Comedy —the
N
ataka
—heroic plays—comedy and humor—theories of laughter—all ignore
psychical Distance —humor a structural element in comedy—the buf¬
foon—humor as brilliance of drama—many sources of comedy—audience
response not ordinary laughter—the rhythm of universal life.
19
The Great Dramatic Forms: The Tragic Rhythm
351
The tragic rhythm—potentiality and fulfillment—life as a total action
—Fate—tragedy not known everywhere— commanding form of action
—condensed life—the tragic error —tragedy does not illustrate fate, but
creates its image—comic elements—comic substructure—
f
unction of spec¬
tacle—mere spectacle—drama not a hybird art—its real relation to life.
Part III
THE POWER OF THE SYMBOL
20
Expressiveness
360
Art symbol not a symbolism—central questions in philosophy of art—
non-temporal projections of feeling—life of feeling—all vital patterns
organic—associated ideas may vary—perception of import
intuitive-
Bergson
on intuition—
Croce
on intuition and expression—consequences
of his theory—
Cassirer
on abstraction and insight—art symbol does not
refer or communicate —Collingwood on art as language —on candor
and corruption—on irrelevance of technique—criticism of his book—fear
of symbol-theory—dangers and strength of such theory—art and craft-
art and personality—the artist s understanding.
21
The Work and Its Public
392
Artist and public—objectivity—the ideal beholder—problems of art-per¬
ception—artistic import not comment—always held in the symbol—per¬
cipient s relation not to artist, but to the work—real nature of aesthetic
emotion —beauty—primacy of responsiveness—freedom and frustration
of response—anticipation of form—effect of art on life—education of feel¬
ing—art and religion—effects of secularization—entertainment—not the
same as amusement—art criticism—talent and genius— artistic tempera¬
ment —art as cultural heritage.
APPENDIX
A Note on the
Fum
411
Motion picture not drama—not pantomime—not a plastic art— swallows
all materials—is a separate poetic mode— virtual present, the dream
mode—basic abstraction is giveness —moving camera—creative char¬
acter of film.
BIBLIOGRAPHY
417
INDEX
494
|
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| spelling | Langer, Susanne Katherina Knauth 1895-1985 Verfasser (DE-588)11908869X aut Feeling and form a theory of art ; developed from "Philosophy in a new key" Susanne K. Langer New York Scribner [o.J.] XVI, 431 S., [6] Bl. Ill., Notenbeisp. 21 cm txt rdacontent n rdamedia nc rdacarrier Originally published 1953 Ästhetik (DE-588)4000626-8 gnd rswk-swf Philosophie (DE-588)4045791-6 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Kunst (DE-588)4114333-4 s Philosophie (DE-588)4045791-6 s DE-604 Ästhetik (DE-588)4000626-8 s 1\p DE-604 KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022867078&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Langer, Susanne Katherina Knauth 1895-1985 Feeling and form a theory of art ; developed from "Philosophy in a new key" Ästhetik (DE-588)4000626-8 gnd Philosophie (DE-588)4045791-6 gnd Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4000626-8 (DE-588)4045791-6 (DE-588)4114333-4 |
| title | Feeling and form a theory of art ; developed from "Philosophy in a new key" |
| title_auth | Feeling and form a theory of art ; developed from "Philosophy in a new key" |
| title_exact_search | Feeling and form a theory of art ; developed from "Philosophy in a new key" |
| title_full | Feeling and form a theory of art ; developed from "Philosophy in a new key" Susanne K. Langer |
| title_fullStr | Feeling and form a theory of art ; developed from "Philosophy in a new key" Susanne K. Langer |
| title_full_unstemmed | Feeling and form a theory of art ; developed from "Philosophy in a new key" Susanne K. Langer |
| title_short | Feeling and form |
| title_sort | feeling and form a theory of art developed from philosophy in a new key |
| title_sub | a theory of art ; developed from "Philosophy in a new key" |
| topic | Ästhetik (DE-588)4000626-8 gnd Philosophie (DE-588)4045791-6 gnd Kunst (DE-588)4114333-4 gnd |
| topic_facet | Ästhetik Philosophie Kunst |
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