標(biāo)題: Titlebook: Emotion in Aesthetics; Warren Shibles Book 1995 Springer Science+Business Media Dordrecht 1995 Theory of Meaning.aesthetics.bibliography.c [打印本頁(yè)] 作者: 極大 時(shí)間: 2025-3-21 18:25
書目名稱Emotion in Aesthetics影響因子(影響力)
書目名稱Emotion in Aesthetics影響因子(影響力)學(xué)科排名
書目名稱Emotion in Aesthetics網(wǎng)絡(luò)公開度
書目名稱Emotion in Aesthetics網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Emotion in Aesthetics被引頻次
書目名稱Emotion in Aesthetics被引頻次學(xué)科排名
書目名稱Emotion in Aesthetics年度引用
書目名稱Emotion in Aesthetics年度引用學(xué)科排名
書目名稱Emotion in Aesthetics讀者反饋
書目名稱Emotion in Aesthetics讀者反饋學(xué)科排名
作者: 反復(fù)無(wú)常 時(shí)間: 2025-3-21 22:02 作者: 周年紀(jì)念日 時(shí)間: 2025-3-22 04:02
,Orthop?dische Untersuchung und Diagnostik,ender metaphorically. Also “emotion” is ambiguous because usually no theory of emotion is given on the basis of which to specify a meaning. In the present analysis, the cognitive-emotive theory is presupposed. From this perspective, various aspects if the expression theory of emotion will be discussed.作者: 貪婪性 時(shí)間: 2025-3-22 05:22
Heinz R. Sch?nbauer,Erwin Polt,Franz Grillld that art expresses meaning and others, such as Hanslick, Scruton and the formalists claim that it has no meaning at all. The issue is clear. Either there are no meanings or there are. But the arguments are unclear. There seems to be little advance being made on understanding how to resolve the issue.作者: Deceit 時(shí)間: 2025-3-22 09:13
Degenerative Gelenkerkrankungenonses have the full range of all language and perception. We may, then, view art from a broad rather than a narrow perspective. Instead of formalism versus expressionism, we may substitute broad versus narrow, holistic versus disconnected, adequate versus partial, contextual versus atomistic.作者: 闡釋 時(shí)間: 2025-3-22 13:00
Aesthetic Value: A Reconstruction of the Literature,ounds independently: ., not in the listener. “Aesthetic” is treated like a perceptual quality, as if we could see it. So the problem arises as to how all this is possible. It will be argued here that it is not possible at all. The “aesthetic” is not a quality, it is not in the object, and is not a thing at all.作者: 闡釋 時(shí)間: 2025-3-22 18:21 作者: Migratory 時(shí)間: 2025-3-23 00:51
Association Theory of Meaning: A Reconstruction of the Literature,ld that art expresses meaning and others, such as Hanslick, Scruton and the formalists claim that it has no meaning at all. The issue is clear. Either there are no meanings or there are. But the arguments are unclear. There seems to be little advance being made on understanding how to resolve the issue.作者: 廣告 時(shí)間: 2025-3-23 03:44 作者: Foment 時(shí)間: 2025-3-23 07:00
https://doi.org/10.1007/978-90-313-8803-5ilosopher’s friends. Majority rule does not vote in truth. Hospers (1966: 149) basically gave up on understanding how music renders emotion claiming that it is a .. One may be glad this was not put up for a vote.作者: 拖債 時(shí)間: 2025-3-23 11:45
Book 1995tics; analysis of the relationshipbetween aesthetics, metaphor and emotion; a full theory of meaning andits application to aesthetics; discussion of the relationship betweenaesthetics, music and language in terms of phonetics, phonology andintonation; an analysis of humanistic aesthetics; a well-dev作者: oblique 時(shí)間: 2025-3-23 15:46
https://doi.org/10.1007/978-3-642-68513-2ed on observation (naive empiricism), but on language. The concept of seeing-as shows that sensation is always conceptualized, that we never have pure sensation. Cognition or language-use is bound up with all perception. Perception comes classified and evaluated.作者: 休閑 時(shí)間: 2025-3-23 20:31
Is Music a Language?,ed on observation (naive empiricism), but on language. The concept of seeing-as shows that sensation is always conceptualized, that we never have pure sensation. Cognition or language-use is bound up with all perception. Perception comes classified and evaluated.作者: 萬(wàn)神殿 時(shí)間: 2025-3-23 23:52 作者: Parameter 時(shí)間: 2025-3-24 04:58
Philosophical Studies Serieshttp://image.papertrans.cn/e/image/308640.jpg作者: 讓你明白 時(shí)間: 2025-3-24 07:19 作者: intelligible 時(shí)間: 2025-3-24 14:39 作者: AMPLE 時(shí)間: 2025-3-24 16:42 作者: Type-1-Diabetes 時(shí)間: 2025-3-24 19:01
,Orthop?dische Untersuchung und Diagnostik,e), characterize, clarify, communicate, create, effect, exhibit, explain, imitate, realize, release, reveal, signify, state, suggest, symbolize, and render metaphorically. Also “emotion” is ambiguous because usually no theory of emotion is given on the basis of which to specify a meaning. In the pre作者: ligature 時(shí)間: 2025-3-25 01:57 作者: 影響帶來(lái) 時(shí)間: 2025-3-25 04:32
Unterschenkel und oberes Sprunggelenk,ch an analysis of art may take, whether music, poetry, literature, painting, architecture, etc. The interpretation given here is not absolute. Limitless other perspectives are possible. This point is made clear by the school of “new criticism” in literature, as well as by Wittgenstein, and the decon作者: disciplined 時(shí)間: 2025-3-25 09:03 作者: WITH 時(shí)間: 2025-3-25 13:29
https://doi.org/10.1007/978-3-642-68513-2y of language and meaning. It was shown that those who have tried to answer the question hold unacceptable theories which are mentalistic, metaphysical, ideal (symbolic logic based on mathematics), or no theory at all is presented. Davies (1994: 48), after presenting a problematic theory of language作者: MOCK 時(shí)間: 2025-3-25 16:52
Degenerative Gelenkerkrankungenrelated to the emotions. The perspective is still a narrow one. We may also relate art to all of one’s cognitions, perceptions and contexts.. Our responses have the full range of all language and perception. We may, then, view art from a broad rather than a narrow perspective. Instead of formalism v作者: 行乞 時(shí)間: 2025-3-25 20:10 作者: wreathe 時(shí)間: 2025-3-26 00:50 作者: 不來(lái) 時(shí)間: 2025-3-26 06:20 作者: 增長(zhǎng) 時(shí)間: 2025-3-26 10:47
,A Cognitive-Emotive Analysis of Hanslick’s Formalism,Although this chapter is a critique of the views of Hanslick, the arguments apply equally well to subsequent formalists. Kivy states (1993: 6):作者: 心神不寧 時(shí)間: 2025-3-26 15:11 作者: deface 時(shí)間: 2025-3-26 18:41 作者: 推崇 時(shí)間: 2025-3-26 23:59
Aesthetic Emotion: A Reconstruction of the Literature,gnitive-emotive theory is the prevailing one, and its counterpart in therapy is the Rational-Emotive Theory. There is a fortunate collaboration here because philosophers can work out the theoretical exploration while the therapists provide the actual clinical experience.作者: Habituate 時(shí)間: 2025-3-27 04:08
An Analysis of , in Aesthetics: A Reevaluation of the Literature,seems to be as unclear now as it has ever been. Some have said that no one knows what the . means (Kivy 1989). And others have given up looking for a definition at all.. It is predictable that without at least a sound theory of meaning and emotion, sentences involving these terms may as well be strung along in any way at all.作者: TIGER 時(shí)間: 2025-3-27 08:38 作者: 制定法律 時(shí)間: 2025-3-27 13:02
Emotion in Aesthetics978-94-015-8579-8Series ISSN 0921-8599 Series E-ISSN 2542-8349 作者: Vldl379 時(shí)間: 2025-3-27 17:30 作者: NATAL 時(shí)間: 2025-3-27 20:19
Introduction,volving around the concept of emotion. And if one judges by the literature, it is not at present a very successful inquiry at that. ?hlberg (1994: 79) states, .. Rowell (1983: 144–145) states, .. We need not worry too much about this last point, because agreement and consensus have never been the ph作者: indecipherable 時(shí)間: 2025-3-27 23:41 作者: neuron 時(shí)間: 2025-3-28 04:35 作者: 銼屑 時(shí)間: 2025-3-28 07:31
Semblances of Emotion: The Sad Saint Bernard: A Reconstruction of the Literature,e), characterize, clarify, communicate, create, effect, exhibit, explain, imitate, realize, release, reveal, signify, state, suggest, symbolize, and render metaphorically. Also “emotion” is ambiguous because usually no theory of emotion is given on the basis of which to specify a meaning. In the pre作者: 極力證明 時(shí)間: 2025-3-28 12:12
Association Theory of Meaning: A Reconstruction of the Literature,d emotions Sparshott wrote, . (23). In what sense can we say that a painting or sonata has meaning? Claims are made. Some expressionists and others held that art expresses meaning and others, such as Hanslick, Scruton and the formalists claim that it has no meaning at all. The issue is clear. Either作者: cortisol 時(shí)間: 2025-3-28 17:39 作者: exigent 時(shí)間: 2025-3-28 20:06
An Analysis of , in Aesthetics: A Reevaluation of the Literature,seems to be as unclear now as it has ever been. Some have said that no one knows what the . means (Kivy 1989). And others have given up looking for a definition at all.. It is predictable that without at least a sound theory of meaning and emotion, sentences involving these terms may as well be stru作者: Nomadic 時(shí)間: 2025-3-29 00:16 作者: 粘土 時(shí)間: 2025-3-29 05:19
Humanistic Art in Broad Perspective: A Reconstruction of the Literature,related to the emotions. The perspective is still a narrow one. We may also relate art to all of one’s cognitions, perceptions and contexts.. Our responses have the full range of all language and perception. We may, then, view art from a broad rather than a narrow perspective. Instead of formalism v作者: 不自然 時(shí)間: 2025-3-29 09:59
The Association Theory of Meaning: An Illustration,gm may produce insight. What is excluded from analysis, however, is a mentalistic analysis of thought and meaning. Ideas, a mind, meaning; private, internal emotions; memory, and imagination are pseudo-psychological notions and as such play no part here.作者: HOWL 時(shí)間: 2025-3-29 14:16 作者: 地名表 時(shí)間: 2025-3-29 19:30 作者: defray 時(shí)間: 2025-3-29 23:29 作者: 記憶 時(shí)間: 2025-3-30 02:48 作者: callous 時(shí)間: 2025-3-30 04:11
Coordination Modes and Hydride Exchange Dynamics in Transition Metal Tetrahydroborate Complexes,H hydrogens in the .H?NMR spectrum at ambient temperature. Thisfast intramolecular exchange between bridging and terminal hydrogens has been analysed. Experimental andcomputational data for these processes have been collected and the exchange mechanisms are discussed. Insummary, several examples ill作者: Pulmonary-Veins 時(shí)間: 2025-3-30 11:51 作者: FOR 時(shí)間: 2025-3-30 13:32
