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Form and Its Meaning in the Creation of Art

Journal of comparative literature & aesthetics, 2016, Vol.39 (1/2), p.1 [Peer Reviewed Journal]

COPYRIGHT 2016 Vishvanatha Kaviraja Institute of Comparative Literature and Aesthetics ;COPYRIGHT 2016 Vishvanatha Kaviraja Institute of Comparative Literature and Aesthetics ;Copyright Edith Wharton Review 2016 ;ISSN: 0252-8169

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  • Title:
    Form and Its Meaning in the Creation of Art
  • Author: Tra, Le Ngoc
  • Subjects: Aesthetics ; Analysis ; Authors ; Bakhtin, Mikhail Mikhailovich ; Bell, Clive ; Creative process ; Form (Art) ; formalist literary theory and criticism ; literary theory and criticism ; Works ; Writers
  • Is Part Of: Journal of comparative literature & aesthetics, 2016, Vol.39 (1/2), p.1
  • Description: According to Bell, "significant form," not general form, distinguishes a work of art from a non-art of work in that at least it must meet these two requirements: first, it consists of lines and colors and the combination of these lines and colours; second, it must be able to stimulate special emotions that Bell calls "aesthetic emotions." According to Bakhtin's explanation, "the creative activity of the author-creator and of receiver embraces all the aspects of language. According to Hegel, in art "sensuous shapes and sounds present themselves, not simply for their own sake and for that of their immediate structure, but with the purpose of affording in that shape satisfaction to higher spiritual interests, seeing that they are powerful to call forth a response and echo in the mind from the depths of consciousness" (Aesthetics 44; emphasis added). Because we tend to abuse the concept of talent, we do not see the boundary between the real and the unreal, unwittingly lower the value of talent, and consequently debase art.
  • Publisher: Cuttack: Vishvanatha Kaviraja Institute of Comparative Literature and Aesthetics
  • Language: English
  • Identifier: ISSN: 0252-8169
  • Source: ProQuest Central

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