Authors
Krzysztof Guczalski
Jagiellonian University
Abstract
Classic expression theory identified the emotional content of works of art with the feelings of the artists and the recipients. This content thus appeared to be external to the work itself. Consequently, formalism declared it to be irrelevant to a work’s value. A way out of this predicament – one which the Polish aesthetician Henryk Elzenberg (1887–1967) was among the first to propose – was suggested by the idea that physical, sensory objects can themselves possess emotional qualities. Thanks to Bouwsma and Beardsley, this concept – of expressiveness as a quality – became common in Anglo-American aesthetics from the 1950s onwards. At the same time, these authors demanded that the term ‘expression’ be expunged from the language of aesthetics. But the widespread tendency to conceptualize the emotional content of art in terms of the expression of a certain subject (most often the artist) still requires some explanation – interpretation, rather than negation. One interpretation construes the expressiveness of works of art in terms of the expression of a fictitious subject, the ‘work’s persona’, conceived by Elzenberg in the 1950s and 1960s. This article discusses his concept and explains some of its more complex aspects, before addressing the emergence of a very similar concept within Anglo-American aesthetics. This concept was gradually elaborated in the 1970s and 1980s, but only in the 1990s did it become more fully developed and widely discussed
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References found in this work BETA

Music and Negative Emotion.Jerrold Levinson - 1982 - In Jenefer Robinson (ed.), Pacific Philosophical Quarterly. Cornell University Press. pp. 327.
Style and Personality in the Literary Work.Jenefer M. Robinson - 1985 - Philosophical Review 94 (2):227-247.
The Expression of Emotion in Music.S. Davies - 1980 - Mind 89 (353):67-86.
Expressiveness as a Property of the Music Itself.Saam Trivedi - 2001 - Journal of Aesthetics and Art Criticism 59 (4):411–420.

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Citations of this work BETA

Emotions in Music: Hanslick and His False Follower.Krzysztof Guczalski - forthcoming - British Journal of Aesthetics.

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