7 FROM THE AUTHOR
10 Introduction.
METHODOLOGY
OF ANALYSIS
  Section I.
  ART AND LANGUAGE
  Chapter I.
The Neo-Positivist Conception of Art as
the Highest Form of Emotive Language:
I. A. Richards
27 [introduction.]
28 1. THE THEORY OF COMMUNICATION AND ART.
32 2. POETRY AS THE HIGHEST FORM OF EMOTIVE LANGUAGE.
42 3. WHEREIN DOES THE VALUE OF ART LIE?
  Chapter II.
The Linguistic Philosophy of Wittgenstein
in His Later Period and “Analytic -6
Aesthetics”
51 [introduction.]
51 1. CONCEPTIONS OF THE LANGUAGE AND PHILOSOPHY OF
LATE-PERIOD WITTGENSTEIN.
54 2. “ANALYTICAL AESTHETICS”.
  Chapter III.
The Neo-Hegelian Linguistic Conception of
Art: Benedetto Croce
62 [introduction.]
63 1. THE INTUITION-EXPRESSION THEORY IN CROCE’S -5
PHILOSOPHY AND THE IDENTIFICATION OF LANGUAGE AND ART.
75 2. ART AS POETIC EXPRESSION.
79 3. BEAUTY AS “SUCCESSFUL EXPRESSION”.
  Chapter IV.
The English Version of the Crocean Theory
of Art as Language: R. G. Collingwood
83 [introduction.]
84 1. R. G. COLLINGWOOD AS A CROCEANIST.
88 2. COLLINGWOOD’S MODIFICATION OF CROCEAN AESTHETICS.
  Section II.
  ART AND SYMBOL
  Chapter V.
The Neo-Realistic Philosophy of Symbolism
and Art: A. N. Whitehead
97 [introduction.]
98 1. ART AND THE EPISTEMOLOGICAL THEORY OF SYMBOLISM.
108 2. SOCIAL SYMBOLISM AND ART.
112 3. BEAUTY AS VALUE.
  Chapter VI.
The Neo-Kantian Conception of Art as
Symbolic Form: Ernst Cassirer
120 [introduction.]
121 1. CRITIQUE OF SYMBOLIC FORMS IN PLACE OF KANT’S -3
CRITIQUE OF REASON.
127 2. ART AS SYMBOLIC FORM.
133 3. “PURE” FORM AS “MEANING” IN ART.
140 4. BEAUTY AS A FUNCTION OF SYMBOLIC FORM.
  Chapter VII.
The Phenomenological Theory of Art as a
Virtual Symbol: Susanne Langer
146 [introduction.]
146 1. THE “NEW KEY”: DISCURSIVE AND PRESENTATIONAL
SYMBOLISM.
153 2. EXPRESSIVE FORM.
159 3. METAPHORICAL SYMBOLISM.
166 4. BEAUTY AS EXPRESSIVE FORM.
  Section III.
  ART AND THE SIGN
  Chapter VIII.
Pragmatism, Semiotics and Art: Charles
Peirce
171 [introduction.]
173 1. THE ICONIC SIGN AND ART.
181 2. BEAUTY AS “KALOS”.
183 3. THE EMOTIONAL INTERPRETANT.
187 4. THE IDEALISTIC CHARACTER OF PEIRCE’S AESTHETICS.
  Chapter IX.
Behaviourism, Semiotics and Art: Charles
Morris
201 [introduction.]
202 1. BEHAVIOURIST SEMIOTICS AND ART.
210 2. ART AND SIGNS. THE AESTHETIC DISCOURSE.
217 3. THE ICON AND ART.
221 4. SEMIOTICS, AXIOLOGY AND ART.
228 Conclusion.
THE SEMANTIC PHILOSOPHY OF ART
AND MODERNISM
232 BIBLIOGRAPHY
244 NAME INDEX
* * *
 

Notes