Croce
Intuition, Expression and Communication
BA 3D Design.
Benedetto Croce (1866-1952) perhaps the most important philosopher of
the twentieth century lived most of his life in Naples born in the
Abruzzi hills a elder son of an ancient and wealthy Neapolitan family
was for decades Italy’s exemplar of the indispensable link between
intellect and conscience, a philosopher, historian, and critic his
approach is one usually termed neo-idealist his aesthetic derives
principally from earlier idealist G.W.F. Hegel (1770-1831) and
Giambatista Vico (1668-1774).
Croce’s possibly best-known work was published in 1902 Philosophy of
the spirit which was divided into four parts “Aesthetic as the Science
of Expression and general Linguistics, Logic as the Science of Pure
Concept, Philosophy of the Practical, and History: Its Theory and
Practice” But my main concern is with Estetica come scienza dell’
espressione e linguistica generale or “Aesthetic as the Science of
Expression and General Linguistics” within his analysis he states
that ““intuition” is only intuition in as far as it is, in that very
act, expression”. In other words he argues that intuition is one and
the same as expression what he means by this is all genuine examples
of intuition are in fact examples of expression, and all genuine
examples of expression are examples of intuition one is a complex of
feeling and thought, while the other is the image that derives from it
but for Croce they are the interior and exterior views of the same
thing. Plausibly, we cannot have an intuition without an equivalent
expression; in other terms that is like talking about a piece of art
work or sculpture inside us that we are incapable of expressing in
form. Although people do talk that way from time to time, of course,
but others are entitled to doubt whether the art piece is really there
inside the person or not. The reason we may think we have intuitions
that we cannot express is that most of our intuitions like our
memories are cloudy and vague, when we come to actualize them; we
realize this and put the fault down to poor technique or skill. What
distinguishes artists from the inartistic and the rest of us that
artists’ intuitions have become much clearer than ours and have also
become much clearer still in the process of expression within their
art work itself.
But he does make a distinction between expression and communication
the third factor in the artistic process which in itself is quite
unimportant. Croce argues that expression does not basically involve
communication. A person can have an intuition in their head and it
will count as a genuine expression even if they never try to
In Tim Robbin's story Going After Cacciato, the main character, Paul Berlin, seeks to tell a story in which he and the gang attempt to catch the runaway soldier Cacciato, while at the same time trying to flee from the harsh environment of the Vietnam War, to Paris. Their journey eventually leads Paul Berlin to Iran where the crew of Paul Berlin, the Lieutenant, Doc Peret, Sarkin Aung Wan, and Stink Harris to name a few become stuck at the border of the country with absolutely no way of getting in because they seem to not have any passports. Captain Rhallon, who commands the Savaks takes it upon himself to question the group, consisting of Paul Berlin, the Lt, and Doc Peret. As the three are being interrogated, all seem to become engaged in the conversation as to what the true purpose of a soldier is. This scenario brings us to our main point, In Going After Cacciato there consist a number of arguments about purpose, the purpose of the soldier, of war, fear and self respect, and in the end, purpose in relation to where you are and what you are doing, it is a subject that consumes the entire story; with that said, Paul Berlin uses the Going After Cacciato storyline in order to directly relate his ideas of purpose to his own experiences and meaning of purpose within his reality of the Vietnam War.
In his day, Johann Adolph Hasse was at the forefront of Italian opera. Although he composed a fair amount of sacred works, he is best known for his operatic output. He was widely popular throughout Italy and Germany, and was commissioned by courts and opera houses throughout Europe. His performances were attended by cultural figures at the time, as well as some of the biggest names in common-era music today. In his later life, styles changed and so Hasse’s acclaim diminished after his death. But generations later, he was re-established as a figurehead and icon of classic ancient Italian opera, a designation he possesses even today.
Opera Reform began with the rise of the expressive style, and at the same time, there were signs of growing influence of middle-class ideas on the aristocratic standards of the early 18th century. The needs of opera were directed towards making a more natural design that had more flexibility within the structure. The content also needed to be deeper and more expressive, less laden with coloratura and more varied. Although the da capo aria was not abandoned, it was expanded and modified with more added forms. The recitatives and arias became more flexible and needed to carry on the action quickly, but realistically. The recitatives had more ac...
The Baroque’s operas was based on classic mythology but within the Classical era it turned to a more realistic contemporary subject reflecting the ideas of enlightenment present in the Classical era. Some major differences between these two eras operas though was the subject matter and form. Within the Baroque era the opera seria, or serious opera, was very common. Opera seria was characterized by the rigid form and appeal to authority or those in power. The later Baroque opera emphasized the strophic variation over the da capo aria was established as a vocal form. Along with these forms was the bipartite aria, which consisted of only A and B variations. In contrast with the late Baroque opera and its rigid alternation of recitative and aria, the middle Baroque opera retained great formal flexibility.The change from this rigid serious opera form came about the years of 1762 to 1783 when the introduction of a simpler more human like opera was introduced. This change can be somewhat contributed to Cristoph
Operas as a form of art became popular in society around the mid 17th century. Originating from Italy, people viewed the opera as a combination of poetry, dance and music. At the time, people were quick to be awed by the ability of the opera to combine all three forms of art into one show of theatre. Obviously, the opera was quick to spread and develop in other countries. The one destination the opera soon gained popularity and fame in was no surprise. As Oscar de la Renta once said, “If you want to establish an international presence you can’t do so from New York. You need the consecration of Paris.”
This article contributed to my project by giving an example of the impact of Opera on the public, and the importance it had in Italy. The article was able to specify certain events that Opera was apart of, whether it was the cause or the victim of a punishment from the invaders. Not only that, but the article also explains the improvement of Opera after the French Revolution. This source is reliable, because it was an official journal that was written long ago and was digitized for the public.
Baroque music is characterized by its development of tonality, elaborate use of ornamentation, application of figured bass, and the expression of single affections. A considerable philosophical current that shaped baroque music is the interest in Renaissance ideas that spawn from ancient Greece and Rome. Ancient Greeks and Romans considered music to be an instrument of communication that could easily stimulate any emotion in its listeners. Therefore, musicians became progressively knowledgeable of the power one’s composition could have on its audiences’ emotions. Because of this, one of the primary goals of baroque art and music was to provoke emotion in the listener, which is closely connected to the “doctrine of affections”. This doctrine, derived from ancient theories of rhetoric and oratory, was the theory that a single piece of art or a single movement of music should express one single emotion. Intrinsically, instead of music reflecting the emotions, composers aspired to cause emotions in the listener. Ma...
Weaver, William. The Golden Century of Italian Opera: From Rossini to Puccini. New York: Thames and Hudson, Inc, 1988
Gothic style architecture introduced a number of innovative and efficient techniques, making its awe-inspiring nature possible. When discussing gothic style architecture, two main characteristics come to mind: height and luminosity. At this time, buildings were made of very heavy stone, a difficult material to create large scale buildings without worry of collapse. One technique used to achieve the height of the period was the use of the flying buttress. These distributed the weight of the heavy stone roofs away from the building, as opposed to letting it rest on the side of the building (Morris). The flying buttress would begin at the top of a wall where a groin vault was already distributing weight from the roof, from which the flying buttress would take this force away from the building and onto a stone
Rickey Laurentiis covers many different social issues throughout his collection titled Boy with Thorn. While these issues are not explicitly connected to one another by time period or type of trauma, Laurentiis bridges a gap between these events. Laurentius draws inspiration from a wide span of material. He utilizes biblical stories, Greek myth and art, Egyptian myth, slavery, or everyday abuses, if one can refer to them in such a way without making them seem mundane. Laurentiis struggles with the idea that historical events have objective truths about them, yet they are still shaped through people’s memory and imaginations. This allows for everyone’s own experience to transform their relationship with these events. Through this collection
In a marriage, there are lessons to be learned from one moment to the next. Part of the purpose of being together is to make each other happy, create new memories and experiences, worship together, and connect on various other levels. However, through the joy and climbing the ladder, there will be some challenging obstacles the couple will face. Not all couples face the same issues, but if the effort to determine a solution is not given, then the outcome may be the same, divorce or separation.
Marital satisfaction, something that everyone would like to find an equation for, is the goal that all married couplesnaturally wish to achieve. Since marital satisfaction obviously has a direct relationship to marital stability, the more satisfaction that is achieved within a marriage, the more stable and more positive the relationship. This stability is accomplished through hard work and communication between the partners, and a mutual understanding of what part each must play in the relationship.
The long-term success of marriage is measured by how effective and efficient individual couples exchange and express their feeling not only to address the problem that might arise but most important how they resolve it through
In a moment an unwise choice can completely derail your best developed goals or rather a wise decision can get you out of the murkiest of situations with ease. Now making a choice comes with responsibilities. The choices you make will affect not only you but also the people around you. At a personal level the things which drive our decisions are our emotions, our memories and our reasoning. At an organisational level it is always weighed according to the pros and cons of the decision.
The origin of opera was born in seventeenth century Italy. Wealthy Italian nobles had these “musical works” presented in their piazzas or courtyards. During this time extravagant entertainments, such as fireworks and other amazing effects along with music, singing, dancing and speeches were presented at regal weddings or to welcome important guests. These pre-op...