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Krzysztof Guczalski
Jagiellonian University
  1.  5
    Emotions in Music: Hanslick and His False Follower.Krzysztof Guczalski - forthcoming - British Journal of Aesthetics.
    Nick Zangwill 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, Bonds, Robinson, Young, Davies and Kania. His ‘manifesto’ paper was recently reprinted in Lamarque and Olsen. This development is unfortunate, because Zangwill, for all his radical-sounding theses, actually argues against views that hardly anyone holds. What is more, some of his arguments in favour of the obvious seem confused and defective. But as for his really (...)
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  2.  3
    Correction: The Density of Symbol Systems – A Critique of Nelson Goodman’s Notion.Krzysztof Guczalski - forthcoming - Philosophia:1-1.
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  3.  15
    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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  4.  58
    Henryk Elzenberg as a Forerunner of Anglo-American Concepts of Expression.Krzysztof Guczalski - 2012 - Estetika 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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  5. Goodman i koniec „tradycyjnej estetyki”?Krzysztof Guczalski - 2003 - Principia 34.
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  6. Henryk Elzenberg as a Forerunner of Anglo-American Concepts of Expression; Emotional Colouring as an Aesthetic Phenomenon.Krzysztof Guczalski - 2012 - Estetika:191-231.
     
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  7. The Density of Symbol Systems – A Critique of Nelson Goodman’s Notion.Krzysztof Guczalski - forthcoming - Philosophia:1-22.
    Nelson Goodman’s theory of symbol systems expounded in his Languages of Art has been frequently criticized on many counts. 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. One such technical notion is that of the density of symbol systems. This serves to distinguish linguistic symbols from pictorial (...)
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  8. Znaczenie Muzyki - Znaczenia w Muzyce : Próba Ogólnej Teorii na Tle Estetyki Susanne Langer.Krzysztof Guczalski - 1999 - Kraków, Polska: Musica Iagellonica.
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  9.  54
    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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  10. Krytyka pojęcia gęstości systemów symbolicznych Nelsona Goodmana.Krzysztof Guczalski - 1998 - Studia Semiotyczne 21:143-164.
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  11.  3
    Musik ist keine Sprache - Argumente Susanne Langers revidiert.Krzysztof Guczalski - 1999 - Filozofski Vestnik 20 (S2).
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