Abstract

Classic expression theory identified the emotional content of works of art with the feelings of their creators or recipients. This content thus appeared to be external to the work itself. Consequently, formalism declared it to be irrelevant to a work’s value. A solution to this dilemma — one which the Polish aesthetician Henryk Elzenberg was among the first to propose — was suggested by the idea that physical, sensual objects can themselves possess emotional qualities. Thanks to Bouwsma and Beardsley, this concept — of expressiveness as a quality — became common in Anglo-American aesthetics from the fifties onwards. At the same time, these authors demanded that the term “expression” be expunged from the language of aesthetics. However, the widespread tendency to conceptualise the emotional content of art in terms of the expression of a certain subject (most often the artist) still requires some explanation — interpretation, rather than negation. One interpretation construes the expressiveness of works of art in terms of the expression of a fictive subject, the “work’s persona”, conceived by Elzenberg in 1950/1960. This paper discusses his concept and explains some of its more complex aspects, before addressing the emergence of a very similar concept within Anglo-American aesthetics. This concept was gradually elaborated in the seventies and eighties, but only in the nineties did it become more fully developed and widely discussed.