The inclusion of esthetic facts in the realm of semiotic analysis has created the need for a progressive conceptual review. Traditional tools have shown to be insufficient for dealing with "sensations" and "emotions" arising from manifestations such as films, theater plays or songs. The articles that comprise this book discuss and extend the current review to the semiotic model that had already been started in the late works of AJ Greimas. Tatit aims to show that such new propositions may find in the reflections about music a fruitful field for new insights.
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