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Journal articles on the topic 'Susanne Langer'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Innis, Robert E. "Snapshot: Susanne K Langer." Philosophers' Magazine, no. 67 (2014): 54–57. http://dx.doi.org/10.5840/tpm201467112.

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2

Gulick, Walter. "Susanne Langer in Focus." Tradition and Discovery: The Polanyi Society Periodical 37, no. 3 (2010): 69–71. http://dx.doi.org/10.5840/traddisc2010/201137340.

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3

Durig, Alexander. "What Did Susanne Langer Really Mean?" Sociological Theory 12, no. 3 (1994): 254. http://dx.doi.org/10.2307/202124.

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4

Innis, Robert E. "Symposium on Susanne K. Langer: Introduction." Journal of Speculative Philosophy 21, no. 1 (2007): 1–3. http://dx.doi.org/10.1353/jsp.2007.0021.

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5

Auxier, Randall. "Susanne Langer on Symbols and Analogy." Process Studies 26, no. 1 (1997): 86–106. http://dx.doi.org/10.5840/process1997261/229.

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6

Colwell, Richard. "Susanne Langer, Charles Leonhard, and Augury." Journal of Historical Research in Music Education 27, no. 2 (2006): 132–44. http://dx.doi.org/10.1177/153660060602700206.

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7

Guter, Eran, and Inbal Guter. "Susanne Langer on Music and Time." Estetika: The European Journal of Aesthetics LVIII/XIV, no. 1 (2021): 35–56. http://dx.doi.org/10.33134/eeja.195.

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8

Åhlberg, Lars-Olof. "SUSANNE LANGER ON REPRESENTATION AND EMOTION IN MUSIC." British Journal of Aesthetics 34, no. 1 (1994): 69–80. http://dx.doi.org/10.1093/bjaesthetics/34.1.69.

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9

Correia, Carlos João. "Susanne K. Langer and the Definition of Art." Eidos. A Journal for Philosophy of Culture 3, no. 1 (2019): 92–103. http://dx.doi.org/10.14394/eidos.jpc.2019.0007.

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10

Lopes de Azevedo Júnior, Ivânio, and Ilana Viana do Amaral. "O estatuto da música tonal em Susanne Langer." Argumentos - Revista de Filosofia, no. 23 (April 19, 2020): 42–52. http://dx.doi.org/10.36517/argumentos.23.3.

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Este artigo tem como objetivo entender em que termos a música, para Susanne Langer, é interpretada à luz de uma Filosofia das Formas Simbólicas. Esta expressão, por sua vez, é a que designa o programa teórico de seu mestre, Ernst Cassirer. A teoria da arte que Langer propõe, em Filosofia em nova chave e em Sentimento e Forma, se pretende uma continuidade da crítica da cultura empreendida por Cassirer, a qual se fundamenta na ideia de que, uma vez demonstrada a necessidade do simbolismo ( função psicológica sem a qual não há cultura), cabe à filosofia compreender e acompanhar o desenvolvimento

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11

Maia, Nathália Cristina Medeiros. "A Importância Cultural da Arte na visão de Susanne Langer." Cadernos Cajuína 6, no. 4 (2021): 351. http://dx.doi.org/10.52641/cadcaj.v6i4.547.

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Este artigo tem como objetivo apresentar a perspectiva de Susanne K. Langer sobre a importância cultural da arte, a partir da obra <em>Ensaios Filosóficos</em>, mais especificamente, a partir da conferência pronunciada na Universidade de Siracusa em 1958. Este trabalho tem como foco principal a identificação das formas simbólicas da arte, para que possamos distingui-las do simbolismo discursivo, assim como tem o propósito de investigar os tipos de expressão humana conforme a teoria estética de Langer, com base em algumas das suas influências mais importantes, tais como: Alfred Nort

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12

van, der. "Kivy and Langer on expressiveness in music." Muzikologija, no. 14 (2013): 191–200. http://dx.doi.org/10.2298/muz1314191s.

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From 1980 onwards, Peter Kivy has put forward that music does not so much express emotions but rather is expressive of emotions. The character of the music does not represent the character or mood of the composer, but reflects his knowledge of emotional life. Unfortunately, Kivy fails to give credit to Susanne Langer, who brought these views to the fore as early as 1942, claiming that the vitality of music lies in expressiveness, not in expression.

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13

Kubiak, Maria. "Susanne K. Langer koncepcja poznania muzycznego jako transformacji symbolicznej." Roczniki Kulturoznawcze 8, no. 2 (2017): 5–27. http://dx.doi.org/10.18290/rkult.2017.8.2-1.

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14

Isaac, Joel. "Susanne K. Langer, Philosophy in a New Key (1942)." Public Culture 32, no. 2 (2020): 355–61. http://dx.doi.org/10.1215/08992363-8090117.

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Susanne Langer’s Philosophy in a New Key (1942) is the most famous book you’ve never heard of. It has had a remarkable career: a big seller on the mass paperback market of the post–World War II decades; a key text in musicology, aesthetics, religious studies, and anthropology; a founding work of Langer’s decades-long attempt to reinvent philosophy. And yet, precisely because the book possessed such remarkable crossover appeal for generations of nonspecialist readers, it has become a neglected Undead text. This article recovers its purpose and reception.

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15

Julliard, Kell N., and Gary Van Den Heuvel. "Susanne K. Langer and the Foundations of Art Therapy." Art Therapy 16, no. 3 (1999): 112–20. http://dx.doi.org/10.1080/07421656.1999.10129656.

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16

BERTHOFF, ANN E. "Susanne K. Langer and ‘the odyssey of the mind’." Semiotica 128, no. 1-2 (2000): 1–34. http://dx.doi.org/10.1515/semi.2000.128.1-2.1.

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17

McLeod Rogers, Jaqueline. "Susanne Langer, Marshall McLuhan and media ecology: Feminist principles in humanist projects." Explorations in Media Ecology 20, no. 2 (2021): 131–49. http://dx.doi.org/10.1386/eme_00081_1.

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In current scholarship, Susanne Langer and her theories of art, perception and connectivity are less well known than McLuhan’s. Comparison brings to the fore that both were concerned with the dulling effects of heavy-handed science and technology unregulated by human hand and heart, and both understood the expressive and liberatory possibilities of language as media and metaphor. By reading ‘diffractively’ ‐ finding new connections and honouring patterns over polemics ‐ this article brings Langer back into the scholarly conversation and reinvigorates our understanding of McLuhan. Langer did no

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18

Gaikis, Lona. "Thinking with Susanne Langer: Sonar Entanglements with the Non-human." Open Philosophy 4, no. 1 (2021): 149–61. http://dx.doi.org/10.1515/opphil-2020-0170.

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Abstract An aesthetic and epistemological departure from ocular centrism has occurred in the wake of current technological evolutions and the posthuman turn. The sonic exploration of the more-than-human takes artists and philosophers beyond anthropomorphism to reveal the hidden patterning of life forms and yet-unfathomed universes. The conflation of nature(s) with culture(s) is one shift that takes place when thinking with sounds and rhythm and studying our environments. On an ontological level, a reordering of subject and object occurs when encountering the reciprocal relationship of sounding

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19

Weber, Andreas. "Feeling the signs: The origins of meaning in the biological philosophy of Susanne K. Langer and Hans Jonas." Sign Systems Studies 30, no. 1 (2002): 183–200. http://dx.doi.org/10.12697/sss.2002.30.1.11.

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This paper describes the semiotic approach to organism in two proto-biosemiotic thinkers, Susanne K. Langer and Hans Jonas. Both authors develop ideas that have become central terms of biosemiotics: the organism as subject, the realisation of the living as a closed circular self, the value concept, and, in the case of Langer, the concept of symbol. Langer tries to develop a theory of cultural symbolism based on a theory of organism as a self-realising entity creating meaning and value. This paper deals mainly with what both authors independently call “feeling”. Both authors describe “feeling”

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20

De Azevedo Junior, Ivanio Lopes. "A experiência musical e a interpretação simbólico-transcendental a partir de Ernst Cassirer e Susanne Langer." Griot : Revista de Filosofia 19, no. 3 (2019): 230–46. http://dx.doi.org/10.31977/grirfi.v19i3.1224.

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O presente artigo tem o objetivo de aprofundar o debate sobre a noção de experiência musical, explicitando os aspectos epistemológicos de uma interpretação filosófica a qual chamamos de simbólico-transcendental. Trata-se do projeto teórico iniciado por Ernst Cassirer, e retomado por Susanne Langer, o qual defende que as manifestações da Cultura são formas simbólicas particulares, quais sejam: conhecimento, linguagem, mito, religião e arte, sendo a partir destas que é possível ao espírito humano significar o real de modo objetivo. A capacidade de simbolizar, por sua vez, constitui-se como resul

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21

Oppenheimer, Jane. "Mind: An Essay on Human Feeling. Volume 3.Susanne K. Langer." Quarterly Review of Biology 60, no. 3 (1985): 331–32. http://dx.doi.org/10.1086/414434.

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22

Rod, David K. "Kenneth Burke and Susanne K. Langer on drama and its audience." Quarterly Journal of Speech 72, no. 3 (1986): 306–17. http://dx.doi.org/10.1080/00335638609383776.

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23

Gaikis, Lona. "The Philosophy of Susanne Langer: Embodied Meaning in Logic, Art and Feeling." British Journal of Aesthetics 60, no. 3 (2020): 364–68. http://dx.doi.org/10.1093/aesthj/ayaa013.

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24

Saraiva, Maria do Carmo. "O sentido da dança: arte, símbolo, experiência vivida e representação." Movimento (ESEFID/UFRGS) 11, no. 3 (2007): 219–41. http://dx.doi.org/10.22456/1982-8918.2879.

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Neste trabalho procura-se apresentar e refletir o significado da dança a partir das teorias desenvolvidas por Susanne Langer, Maxine Sheets-Johnstone e Ursula Fritsch, que aportam, especialmente, nas perspectivas fenomenológicas. Partindo-se da compreensão da arte e da dança como expressão simbólica e centrando-se na compreensão da dança como objeto de vivência e representação, encontramos o seu sentido como símbolo de uma totalidade indivisível que aparece perante nós e de uma outra forma de se apresentar no mundo.

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25

Ramaldes, Karine. "A Relação entre espectador e obra de arte." Revista Aspas 6, no. 1 (2016): 149. http://dx.doi.org/10.11606/issn.2238-3999.v6i1p149-161.

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Neste estudo, a partir da pesquisa bibliográfica, faço a explanação de pontos que considero significativos na relação entre o espectador e a obra de arte, sendo eles: alguns termos mais utilizados para denominar essa relação espectador e obra de arte; a relevância do espectador na concretização da obra de arte; o processo de transformação simbólica da experiência do espectador. Meu objetivo é aprofundar os estudos relacionados ao assunto partindo de conceitos utilizados especialmente por John Dewey, Patrice Pavis e Susanne Langer.

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26

Paes Loureiro, João de Jesus. "Meditação devaneante entre o rio e a floresta." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 3 (2016): 7. http://dx.doi.org/10.18542/arteriais.v3i3.3867.

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Este texto aborda o homem ribeirinho e rural da Amazônia que vive, no campo operacional da realidade prática, a lógica alegórica do mito. Este homem promove a conversão estetizante da realidade em signos, e revela sua singular relação com a natureza, que se reflete e ilumina miticamente a cultura. Gaston Bachelard, Roland Barthes, Walter Benjamin, Samuel Taylor Coleridge, Gilbert Durand, Umberto Eco, Félix Guattari, Susanne Langer e Paul Zunthor são os autores convidados a mediar a meditação devaneante sobre esse homem – caboclo amazônida – que no incessante trabalho da imaginação inventa a su

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27

Elwell, J. Sage. "The Metaphor of Religion and Art." Religion and the Arts 22, no. 5 (2018): 622–38. http://dx.doi.org/10.1163/15685292-02205003.

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Abstract This essay takes up the challenge of unpacking the nature of what Schleiermacher called the “inner affinity” between religion and art. Drawing on the work of philosophers of art such as Susanne Langer and Arthur Danto, and philosophers of religion like Loyal Rue and David Tracy, I suggest that religion and art have at their core a comparable metaphorical structure that lends them this common communion. From this shared structure, I deduce five principal conclusions that I take to be the key avenues of affiliation between religion and art.

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28

Damnjanović, Milan, and Milan Damnjanovic. "Susanne K. Langer: Die Kunst als symbolische Form. Mit besonderer Berücksichtigung der Musiktheorie." International Review of the Aesthetics and Sociology of Music 18, no. 2 (1987): 217. http://dx.doi.org/10.2307/836591.

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29

Suherman. "PATUNG TAU TAU DI TORAJA PROVINSI SULAWESI SULAWESI SELATAN: Kajian Simbol Susanne Knauth Langer." Imaji 14, no. 2 (2016): 146–56. http://dx.doi.org/10.21831/imaji.v14i2.12178.

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Patung Tau Tau di Toraja, Sulawesi Selatan merupakan salah satu karya seni yang tergolong dalam karya seni ritual. PatungTau Tau adalah replika dari masyarakat Toraja yang meninggal dunia.Patung Tau Tau sebagai karya seni ritual, oleh karena Patung Tau Tau erat kaitannya dengan proses ritual keagamaan. Dalam kepercayaan suku adat Toraja (Aluk Todolo), Tau Tau bukan melambangkan badan atau raga almarhum, melainkan simbol roh atau spirit sang almarhum yang tidak ikut mati, tetapi melanjutkan kehidupan lain di alam berikutnya sesudah kematian. Kehadiran seni dalam ritual agama, menjadi satu kesat

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30

Dryden, Donald. "Susanne Langer and William James: Art and the Dynamics of the Stream of Consciousness." Journal of Speculative Philosophy 15, no. 4 (2001): 272–85. http://dx.doi.org/10.1353/jsp.2001.0036.

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31

Grimbly, Caroline. "Ben Fincham, Susanne Langer, Jonathan Scourfield and Michael Shiner. Understanding Suicide: A Sociological Autopsy." Qualitative Social Work 11, no. 3 (2012): 342–45. http://dx.doi.org/10.1177/1473325012446944b.

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32

Rodrigues, Jean Carlos. "Espaços de cores: experiências e sentidos em Vincent van Gogh / Color spaces: experiences and senses in Vincent van Gogh." Geograficidade 8, no. 2 (2018): 65. http://dx.doi.org/10.22409/geograficidade2018.82.a13129.

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O artigo que apresentamos tem por finalidade discutir sobre o espaço na arte, com ênfase no espaço virtual, o espaço da pintura, que também se constitui como um espaço de cores. Este debate é construído a partir das concepções de formas simbólicas de Ernst Cassirer, e de formas significantes e espaço virtual de Susanne K. Langer. Com base nestes autores, parte-se do entendimento da arte como uma forma simbólica capaz de produzir representações de mundo e criar espacialidades artísticas, próprias do universo da pintura, mas produtos de uma mente tipicamente humana. Para tanto, tomamos como refe

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33

Reichling, Mary J. "Robert E. Innis,Susanne Langer in Focus: The Symbolic Mind(Indiana University Press: Indianapolis, 2009)." Philosophy of Music Education Review 17, no. 2 (2009): 213–17. http://dx.doi.org/10.2979/pme.2009.17.2.213.

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34

Kumar, Nilotpal. "Understanding suicide: a sociological autopsy, by Ben Fincham, Susanne Langer, Jonathan Scourfield and Michael Shiner." Anthropology & Medicine 20, no. 1 (2013): 112–14. http://dx.doi.org/10.1080/13648470.2012.762338.

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35

Griffioen, Sander. "Adrienne Dengerink Chaplin, The Philosophy of Susanne Langer: Embodied Meaning in Logic, Art and Feeling." Philosophia Reformata 86, no. 1 (2021): 84–88. http://dx.doi.org/10.1163/23528230-bja10015.

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36

Brentari, Carlo. "“A collective fixation of meaning”." Evolutionary Linguistic Theory 1, no. 2 (2019): 143–61. http://dx.doi.org/10.1075/elt.00008.bre.

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Abstract The present contribution aims at offering an exposition and a critical evaluation of the philosophical-anthropological theory of the origin of language developed by the American philosopher Susanne K. Langer (1895–1985). Langer’s theory traces human language and, in particular, its denotative and communicative functions, back to the expressive vocal utterances of the pre-human beings from which humanity would have derived. In her inquiry, Langer refers in particular to the article “The festal origin of the human speech” (1891–92), written by the psychologist J. Donovan. In his study,

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37

Van der Tuin, Iris. "Bergson before Bergsonism: Traversing “Bergson’s Failing” in Susanne K. Langer’s Philosophy of Art." Journal of French and Francophone Philosophy 24, no. 2 (2016): 176–202. http://dx.doi.org/10.5195/jffp.2016.776.

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How did the philosophy of Henri Bergson look before Gilles Deleuze’s Bergsonism? This article provides a situated answer to that question by performing a close reading of Susanne K. Langer’s early engagement with Bergson in her monograph Feeling and Form from 1953. Both Bergson and Langer argue against polemical philosophizing. Such polemical modes of doing philosophy distort insight into the thought of the philosophers in question and in philosophical questions per se (such as questions about artistic creation). My reading of Langer’s Bergson is therefore infused with what is nowadays called

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38

Pinto Soffia, Alejandra. "Conceptos previos para la comprensión de un “simbolismo no-discursivo” desde la filosofía de Susanne Langer." Resonancias. Revista de Filosofía, no. 5 (March 12, 2019): 60. http://dx.doi.org/10.5354/0719-790x.2018.52500.

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Este artículo se configura a partir de lo fecundo que resulta la distinción de Susanne Langer (EE.UU. 1895-1985) en torno a la posibilidad de un simbolismo no discursivo. Más allá de la comunicación como articulador de sentido, hay otras formas no discursivas que permiten una simbolización significante; estas son el mito, el rito, el sueño y el arte. De una forma introductoria, abordamos el simbolismo no-discursivo como un campo abierto de significación, desde donde es posible acceder a la expresión y la significación más allá del lenguaje discursivo. En este rescate, la metáfora aparece como

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39

Prior, Lindsay. "Book review: Ben Fincham, Susanne Langer, Jonathan Scourfield and Michael Shiner, Understanding Suicide: A Sociological Autopsy." Qualitative Research 13, no. 4 (2013): 457–58. http://dx.doi.org/10.1177/1468794113475419.

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40

Stack, Steven. "Book Review: Ben Fincham, Susanne Langer, Jonathan Scourfield and Michael Shiner, Understanding Suicide: A Sociological Autopsy." Sociology 47, no. 2 (2013): 413–14. http://dx.doi.org/10.1177/0038038512470876.

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41

Ribeiro de Oliveira, Solange. "Literatura e música: união indissolúvel." Revista Internacional em Língua Portuguesa, no. 37 (August 4, 2020): 93–114. http://dx.doi.org/10.31492/2184-2043.rilp2020.37/pp.93-114.

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Como parte da Melopoética_ disciplina voltada para o estudo de diferentes formas de relação entre Literatura e Música_ o ensaio discute teorias e tipologias propostas por críticos como Steven Paul Scher, Werner Wolf, Paul Zumthor, Susanne Langer, Luis Tatit e Claus Clüver, entre outros. A partir de três eixos classificatórios_ Música na Literatura, Literatura na Música, Literatura e Música_ estudam-se várias possibilidades de relação entre as duas artes. A título de complementação, acrescentam-se análises de criações musicais brasileiras e europeias, selecionadas como ilustrativas dos temas fo

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42

Nystrom, Christine L. "Symbols, thought, and reality: The contributions of Benjamin Lee Whorf and Susanne K. Langer to media ecology." New Jersey Journal of Communication 8, no. 1 (2000): 8–33. http://dx.doi.org/10.1080/15456870009367376.

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43

Daniel Guentchev. "What Do We Expect from Our Philosophies of Art? A Comparison of the Aesthetics of Susanne Langer and Maurice Merleau-Ponty." Journal of Aesthetic Education 52, no. 4 (2018): 94. http://dx.doi.org/10.5406/jaesteduc.52.4.0094.

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44

Maestri, Eric. "Touching the Sound, Sounding the Touch. The Tactile Experience in the Music of Santiago Diez-Fischer as a Presentational Symbol." Philosophies 6, no. 3 (2021): 72. http://dx.doi.org/10.3390/philosophies6030072.

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The music of Argentinian composer Santiago Diez-Fischer places particular emphasis on the sense of touch. The sonic textures and the notations the composer use illustrate this. In several pieces, his writing indicates surfaces to rub, caress, and press. The resulting sound is complex, often on the edge of noise. In this article, I argue that the notion of presentational symbol as proposed by Susanne Langer serves to clarify how such music is an expression of tactile experience. I show how this notion relates to all music in general, and precisely because music is such a symbol that it can be u

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45

Birtwistle, G. M. "Adrienne Chaplin-Dengerink, Mind, Body and Art: The Problem of Meaning in the Cognitive Aesthetics of Susanne K. Langer. Amsterdam, 1999: dissertation Vrije Universiteit. 328 pp." Philosophia Reformata 65, no. 2 (2000): 197–200. http://dx.doi.org/10.1163/22116117-90000201.

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46

Huber, Martin. "„Letztendlich ist alles Übung“ – Interview mit Susanna Freivogel." physiopraxis 17, no. 07/08 (2019): 46–49. http://dx.doi.org/10.1055/a-0900-1987.

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Susanna Freivogel kämpft seit über 30 Jahren für eine moderne evidenzbasierte motorische Neurorehabilitation. Dabei scheute sie nie davor zurück, unbequeme Wahrheiten auszusprechen. Im Interview erzählt sie, wie es dazu kam, dass sie sich schon lange vor der Akademisierung der Physiotherapie in Deutschland mit der Evidenz therapeutischer Maßnahmen auseinandergesetzt hat.

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47

Huth, Susanne. "Analog Algorithm – Landscapes of Machine Learning." sub\urban. zeitschrift für kritische stadtforschung 9, no. 1/2 (2021): 213–24. http://dx.doi.org/10.36900/suburban.v9i1/2.696.

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In ihrem fotografischen Magazinbeitrag „Analog Algorithm – Landscapes of Machine Learning“, der auf ihrem gleichnamigen Buch basiert, nimmt uns die Fotografin Susanne Huth mit ins Silicon Valley, das Machtzentrum der technischen Innovation und der postindustriellen, neoliberalen Wirtschaftsordnung schlechthin. Mit ihren Arbeiten begibt sie sich auf einen Streifzug durch den etwa 70 Kilometer langen und 30 Kilometer breiten Landstrich in der San Francisco Bay Area, der Gegenstand globaler und kollektiver Fantasien zu sein scheint. Huths Bilder zeigen jedoch, dass es nicht ausreicht, lediglich ü

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48

List, Elisabeth. "Susanne Langers naturalistische Theorie des Geistes als Beitrag zu einer Epistemologie der Kultur." Zeitschrift für Kulturphilosophie 2011, no. 1 (2011): 177–94. http://dx.doi.org/10.28937/1000107378.

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49

Eron, Sarah, and Susan S. Lanser. "ASECS at 50: Interview with Susan S. Lanser." Eighteenth-Century Studies 53, no. 3 (2020): 351–58. http://dx.doi.org/10.1353/ecs.2020.0034.

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50

Utami, Regita Rian, and Sri Setyoasih. "KEPENARIAN BUNCIT DALAM TARI SRIMPI GANDAKUSUMA." Greget: Jurnal Pengetahuan dan Penciptaan Tari 19, no. 1 (2020): 42–58. http://dx.doi.org/10.33153/grt.v19i1.3184.

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Essay of this artwork present an analysis dizziness of Buncit’s in a Srimpi Gandakusuma dance Surakarta sytle covers intepretation garap fillings and shapes, the dizziness of Buncit’s in the Srimpi Gandakusuma dance. The garap fillings and shapes which is studied with concept of the Javanese Hasta Sawanda. Concept shapes Susan Langer used to analyze elements in dance.The method used is bservation, library studies, and interview. Research has shown that the dizziness Buncit’s in a Srimpi Gandakusuma dance is a required a process which is continue and intensive. Dancing a group dance must be sup

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