18 found
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  1. Emotions in Music: Hanslick and His False Follower.Krzysztof Guczalski - 2022 - British Journal of Aesthetics 62 (3):325-338.
    Nick Zangwill (2004, 2007) appears to be acquiring the status of repudiator-in-chief of emotion in music. He is invoked in this role by such authors as Kraut (2007, p. 67), Bonds (2014, p. 5), Robinson (2014), Young (2014, pp. vii, 1, 3–4, 151), Davies (2017) and Kania (2017). His ‘manifesto’ paper (2004) was recently reprinted in Lamarque and Olsen (2018, pp. 574–582). This development is unfortunate, because Zangwill, for all his radical-sounding theses, actually argues against views that hardly anyone holds. (...)
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  2. (1 other version)Henryk Elzenberg as a Forerunner of Anglo-American Concepts of Expression.Krzysztof Guczalski - 2012 - Estetika: The European Journal of Aesthetics 49 (2):191-231.
    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 (...)
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  3. Nelson Goodman’s aesthetics – a critique.Krzysztof Guczalski - 2021 - Arts 10.
    Nelson Goodman (1906–1998) is one of the leading American philosophers of the twentieth century. His well-known book Languages of Art is considered a major contribution to analytical aesthetics. While his views on particular issues have often been criticized, on the whole, he is considered to be a leading figure in twentieth-century aesthetics. Contrary to such a stance, I intend to argue that Goodman’s overall contribution to aesthetics is not as outstanding and valuable as is often maintained. Rather, I will try (...)
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  4. Index und Ikon, Metapher und Metonymie in der Musik.Krzysztof Guczalski - 2018 - Musik Und Ästhetik 22 (85):45-66.
    Index and icon, metaphor and metonym in music – In this paper, it is argued that the widespread attempts to use notions taken from semiotics, linguistics or literary theory – such as symbol, index, iconic sign, metaphor and metonym – to analyze the meanings of music are most often misguided. Index in particular – contrary to popular belief – does not occur in music. Of all the notions considered here – metaphor and metonym, index and icon – only the last (...)
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  5. How Music Combines with Words?Krzysztof Guczalski - 2008 - Interdisciplinary Studies in Musicology 7:87-95.
    Since language provides the most typical paradigm of meaning, when we ask what meanings music may communicate, it will certainly be illuminative to compare these meanings with those conveyed by language. In particular we would want to ask an even more specific question: how, in general, the respective meanings of music and words are related in a vocal composition.
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  6. "Allerhöchste Allgemeinheit" und "genaueste Bestimmtheit" musikalischer Bedeutungen. Ein Versuch, die Paradoxa Felix Mendelssohn-Bartholdys, Arthur Schopenhauers und Susanne Langers aufzulösen.Krzysztof Guczalski - 2003 - International Review of the Aesthetics and Sociology of Music 34 (2):103-126.
    In The World as Will and Representation (Vol. I, Book 3, § 52) by Arthur Schopenhauer we find the following, striking words: It is just this universality that belongs uniquely to music, together with the most precise distinctness, that gives it that high value as the panacea of all our sorrows. (p. 262) Accordingly, music ... is in the highest degree a universal language ... Yet its universality is by no means that empty universality of abstraction, but is of quite (...)
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  7.  95
    Expressiveness as a Quality and as the Expression of a Fictive Subject.Krzysztof Guczalski - 2011 - Proceedings of the European Society for Aesthetics 3:126-138.
    Classic expression theory identified the emotional content of works of art with the feelings of their creators or 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 solution to this dilemma — one which the Polish aesthetician Henryk Elzenberg was among the first to propose — was suggested by the idea that physical, sensual objects can themselves possess emotional qualities. Thanks to Bouwsma and Beardsley, this (...)
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  8. Ekspresja - prekursorska koncepcja Henryka Elzenberga a estetyka amerykańska.Krzysztof Guczalski - 2006 - Estetyka I Krytyka 9:110-128.
    Klasyczne teorie ekspresji, identyfikując treści uczuciowe dzieła sztuki z przeżyciami twórcy czy też odbiorcy, zdawały się wyprowadzać je poza dzieło. W konsekwencji formalizm treści takie – jako wobec dzieła zewnętrzne – uznawał za obojętne dla jego wartości i istoty. Sposobem wyjścia z dylematu okazało się dostrzeżenie i uznanie istnienia jakości psychicznych w samych zmysłowo postrzegalnych przedmiotach, a jednym z prekursorów tej idei był Henryk Elzenberg (1937). Koncepcja taka – ekspresywności jako własności – stała się, począwszy od lat pięćdziesiątych, za sprawą (...)
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  9. The Density of Symbol Systems – A Critique of Nelson Goodman’s Notion.Krzysztof Guczalski - 2022 - Philosophia 50 (3):1131-1152.
    Nelson Goodman’s theory of symbol systems expounded in his Languages of Art has been frequently criticized on many counts (cf. list of secondary literature in the entry “Goodman’s Aesthetics” of Stanford Encyclopedia of Philosophy and Sect. 3 below). Yet it exerts a strong influence and is treated as one of the major twentieth-century theories on the subject. While many of Goodman’s controversial theses are criticized, the technical notions he used to formulate them seem to have been treated as neutral tools. (...)
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  10. Expressive meaning in music: Generality versus particularity.Krzysztof Guczalski - 2005 - British Journal of Aesthetics 45 (4):342-367.
    The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley’s book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. It takes the (...)
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  11. Phenomenological and Analytic Aesthetics of Music. On the Views of Susanne Langer and Roman Ingarden.Krzysztof Guczalski - 2001 - Nordic Journal of Aesthetics 13 (23):27-38.
  12. Filozofia muzyki. Studia.Krzysztof Guczalski (ed.) - 2003 - Kraków: Musica Iagellonica.
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  13. Goodman i koniec „tradycyjnej estetyki”?Krzysztof Guczalski - 2003 - Principia 34.
     
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  14. Henryk Elzenberg as a Forerunner of Anglo-American Concepts of Expression; Emotional Colouring as an Aesthetic Phenomenon.Krzysztof Guczalski - 2012 - Estetika: The European Journal of Aesthetics:191-231.
     
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  15. Krytyka pojęcia gęstości systemów symbolicznych Nelsona Goodmana.Krzysztof Guczalski - 1998 - Studia Semiotyczne 21:143-164.
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  16.  59
    Musik ist keine Sprache - Argumente Susanne Langers revidiert.Krzysztof Guczalski - 1999 - Filozofski Vestnik 20 (2):335-348.
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  17.  84
    Perspektywa. Forma symboliczna czy naturalna?Krzysztof Guczalski - 2012 - Kraków: Homini.
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  18. Znaczenie Muzyki - Znaczenia w Muzyce : Próba Ogólnej Teorii na Tle Estetyki Susanne Langer.Krzysztof Guczalski - 1999 - Kraków: Musica Iagellonica. Edited by Susanne Katherina Knauth Langer.
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