20,849 research outputs found
Women in Early Analytic Philosophy: Volume Introduction
Editor's Introduction to the special issue including papers about Susan Stebbing, Susanne Langer and Maria Kokoszyńska
Философское осмысление музыки в контексте эстетической теории Сьюзен Лангер
The article examines the philosophy of music in the context of the aesthetic concept Susanne Langer. Music is presented as presentational symbol acts as a logical picture of the sensual life. The idea of «significant form» reveals the possibilities of music to express the essence of things, while not calling them.Keywords: Susanne K.Langer, music, presentational symbol, a significant form, emotions.Анализируется философия музыки в контексте эстетической концепции Сьюзен Лангер. Музыка предстает как презентативный символ, выступает в качестве логической картины чувственной жизни. Идея «значимой формы» раскрывает возможности музыки выражать сущность явлений, при этом, не называя их.PHILOSOPHICAL UNDERSTANDING OF MUSIC IN THE CONTEXT OF AESTHETIC THEORY SUSANNE LANGERThe article examines the philosophy of music in the context of the aesthetic concept Susanne Langer. Music is presented as presentational symbol acts as a logical picture of the sensual life. The idea of «significant form» reveals the possibilities of music to express the essence of things, while not calling them.Keywords: Susanne K.Langer, music, presentational symbol, a significant form, emotions
Susanne Langer on Architecture
That human thought is essentially symbolic was Susanne Langer’s “new key” to philosophy. No approach might seem less promising for understanding our experience of architecture: apart from a few academics who have confused architectural drawing with architecture itself, most people think of architecture as comprising three-dimensional, physical objects built of wood, stone, steel, glass, and all sorts of contemporary composites, as real rather than symbolic as it can get. We should begin where she did, namely, by distinguishing what she called “discursive” and “presentational” symbolism. Langer’s main point is not merely that architecture provides ethnic domains, but that it provides images of ethnic domain
Iconology and Formal Aesthetics: A New Harmony. A Contribution to the Current Debate in Art Theory and Philosophy of Arts on the (Picture-)Action-Theories of Susanne K. Langer and John M. Krois
Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen
The aesthetic theories of John Dewey and Susanne K. Langer.
Thesis (M.A.)--Boston University
Includes bibliographical references (leaves 163-165).The purpose of this thesis is to compare and contrast the aesthetics of John Dewey and Susanne K. Langer. The first chapter comprises the introduction, in which the specific purposes, methods, limitations, and definitions of the thesis are presented. [TRUNCATED]
Chapter four, the final chapter of this thesis, presents a comparison and contrast, and a brief evaluation, of the aesthetics of Dewey and Langer. The views of Dewey and Langer, it is suggested, diverge and contrast on at least these six issues: the nature of philosophy, the purpose of aesthetics, the characterization of appreciation, the nature of perception, creation, and form in art. On the other hand, their views of expression, meaning, organic form, intuition, and of the relation of art to society seem to be in agreement, although their reasoning on these subjects is often very different. The evaluative section of this chapter consists of a formulation of three problems that may well be raised in connection with each author's theory. In regard to Langer's position, it is suggested that her theory of primary illusions may oversimplify the nature of aesthetic appreciation; that she has not given sufficient reason for excluding actual feelings from art; and, that it is not clear how art can be significant of felt-life if there is not, at least, an empathic projection of feelings in the aesthetic response. In connection with Dewey's position it is suggested that he has perhaps unnecessarily excluded the notion of "distance" as too passive, whereas it does not mean passivity alone; that the demands placed on artist and appreciator by the reciprocal relations of undergoing and doing may well be excessive; and, that it is not clear how art is distinguishable from other areas of experience if the experience that is art can be conferred on the experience of the community as a whole
Susanne Langer on Music and Time
Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We argue that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding, and that it rests on a contested presupposition concerning the conceptual primacy of memory-time
TARI SEMAYO SEBAGAI SIMBOL BUDAYA BEBIDUK PADA MASYARAKAT RANTAU PANJANG KECAMATAN TABIR KAB.MERANGIN PROV. JAMBI
Penelitian ini bertujuan untuk menjelaskan dan mengungkapkan Tari Semayo Sebagai Simbol Budaya Pada Masyarakat Rantau Panjang Kecamatan Tabir Kabupaten Merangin Provinsi Jambi. Penelitian ini adalah penelitian kualitatif dengan menggunakan metode deskriptif analisis yaitu mendeskripsikan data yang diperoleh dan menjelaskannya kemudian dianalisis. Teori atau pendapat yang digunakan dalam penelitian Tari Semayo adalah teori bentuk oleh Y Sumandiyo Hadi, teori simbol oleh Susanne K Langer dan teori budaya oleh Linton. Hasil yang diperoleh menyatakan bahwa Tari Semayo merupakan salah satu tari tradisional yang berasal dari Rantau Panjang yang biasa ditampilkan dalam acara adat di Rantau Panjang seperti, acara penyambutan tamu, memantai, dan tuhun beumo
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