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12Expressiveness as a Quality and as the Expression of a Fictive SubjectProceedings of the European Society for Aesthetics 3 126-138. 2011.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 Bear…Read more
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13Index und Ikon, Metapher und Metonymie in der MusikMusik Und Ästhetik 22 (85): 45-66. 2018.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 may be applied to music in any essential …Read more
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15Nelson Goodman’s aesthetics – a critiqueArts 10. 2021.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.…Read more
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4Henryk Elzenberg as a Forerunner of Anglo-American Concepts of ExpressionEstetika: The European Journal of Aesthetics 49 (2): 191. 2020.
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42Emotions in Music: Hanslick and His False FollowerBritish Journal of Aesthetics 62 (3): 325-338. 2022.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 hard…Read more
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49The Density of Symbol Systems – A Critique of Nelson Goodman’s NotionPhilosophia 50 (3): 1131-1152. 2022.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 …Read more
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153Ekspresja - prekursorska koncepcja Henryka Elzenberga a estetyka amerykańskaEstetyka I Krytyka 9 110-128. 2006.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 – ekspresywn…Read more
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Henryk Elzenberg as a Forerunner of Anglo-American Concepts of Expression; Emotional Colouring as an Aesthetic PhenomenonEstetika: The European Journal of Aesthetics 191-231. 2012.
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1848Znaczenie Muzyki - Znaczenia w Muzyce : Próba Ogólnej Teorii na Tle Estetyki Susanne LangerMusica Iagellonica. 1999.
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Krytyka pojęcia gęstości systemów symbolicznych Nelsona GoodmanaStudia Semiotyczne 21 143-164. 1998.
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97Expressive meaning in music: Generality versus particularityBritish Journal of Aesthetics 45 (4): 342-367. 2005.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 fo…Read more
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215Henryk Elzenberg as a Forerunner of Anglo-American Concepts of ExpressionEstetika: The European Journal of Aesthetics 49 (2): 191-231. 2012.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…Read more
Kraków, Poland
Areas of Specialization
Philosophy of Music |
Aesthetics |
Aesthetics and Emotions |
Depiction |
Areas of Interest
Philosophy, Misc |
Social and Political Philosophy |