The Open Work Umberto Eco ‘Translated by Anna Cancogni With an Introduction by David Robey HARVARD UNIVERSITY PRESS ‘Cambridge, Massachasets1 The Poetics of the Open Work ‘A number of recent pieces of instrumental music are linked by 3 common feature: the considerable autonomy left to the individual performer in the way he chooses co play the work, Thus, he isnot merely fies to incerpet the composer’ instructions following his ‘own discretion (which in fact happens in traditional music), but he ‘must impose tis judgment on the form of the piece, 38 when he decides how long to hold s note oF in what order to group the sounds: all chisamounts to an act of improvised creation. Here are some of the best-known examples ofthe process. 1. In Klavientick XI, by Karlheine Stockhausen, the composer presents the performer a single large sheet of music paper with Series of noce groupings. The performer then has to choose song these grouping, first for the one to tare che piece and, next, for the successive units in the order in which he elects to weld them together In this typeof performance, the instramentaliet’ freedom fsa finction ofthe “narrative” structure ofthe piece, which allows hhim to “mount” the sequence of musical units in the order he chooses, 2 In Luciano Berio's Sequence or Solo Fut, the composer pre~ sens the performer a text which predetermines the sequence and intensity of the sounds to be played. But the performer i fee to choose how loag co hold a nove inside the fixed framework imi posed on him, which in turn is established by the fixed pater of the metronome’ best. 3. Hensi Powsseur has ofered che following description of his piece Scam Scant isnot so mach » mosial composition a a field of pani Ines, an explii imieaion to exercise choice. ess made up ofsinteen sections. Each ofthese can be linked to any rwo others, withoue weakening the logical continuity of the musical pro- css, Two of ies sections, for example, are introduced by simular ‘tis (alter which they evolve in divergent patterns) anther air of sections, on the contrary, tends to develop towards the ‘Be climate, Since the performer ean start or fish with any ‘ne section, a considerable numberof sequential permutations Sre made avalible to him, Furthermore, the ‘wo sections ‘hick begin on the tame mos ean be played rimaltaneossy, soas to present a more complex structural pelypliony. Ie is not (ofthe question that we conccive thes formal notations 384 ‘markeuble product if they were tape-recorded and the pu chaser had «sufficiently sophisticated reception appara, then the general public wold be ina postion eo develop a private ‘musical construct ofits own and a new collective sensibility in ‘matets of musical presentation and duration could emerge 4. In Petre Boulez’ Thind Sonata for Pano, the fist section (A ‘iphonie, Fomant 1) is made up often different pices on ten corre- sponding sheets of music paper. These can be aranged indifferent sequences lke a stack of filing card, though not all possible per- ‘mutations are permissible. The second part (Formant ty Threpe) is ‘made up of fous parts with an itcenal citcularity, so thatthe per= former can commence with any one of them, linking it successively to the others until he comes round fill circle, No major interprets- tive variants are permitted inside che various sections, but one of ther, Paemise, opens with « prescribed time beat, which i fal- owed by extensive pauses in which the beat is let to the player's diseretion. A further prescriptive note is evined by the composer's instructions on the manner of linking one piece to the next (for example, ans rete enchaner ans intemaption, and soon). What is immediatly striking in such cases isthe macroscopic di= vergence between these forms of musical communication and the Yimeshonored tradition of the cheics, Ths difference can be for= mulated in elementary tems as follows: 1 classical composition, ‘whether it be a Bach fugue, Verdi’ Aida, or Stravinsky's Rte of ‘Spring, pits an antemblage of sound unite which the composer stranged in a closed, well-defined manner before presenting it (© the listener. He converted his ides into conventional symbols which ‘mote or less cblige dhe eventual performer to reproduce the format devised by the composer himself, whereas the new musical works referred to above reject the definitive, concluded message and mul= tiply the forwal possibilities ofthe distribution of thet elements, ‘They appeal othe iiative ofthe individual performer, and hence they offer themselves not as finite works which prescribe specific repetition along given structural coordinates but 48 “open” works, which are brought o their conclusion by the performer atthe same time a he experiences them on an zesthetc plane." ‘To avoid any confusion in temsinology, itis importan to specify that here the definition ofthe “open work,” despieits relevance in formulating afresh dialectics between the work of ar an it per- former, sil requires toe separated from other conventional appli- cations of this term. Aesthetic theorists, for example, often have recourse to the notions of “completeness” and "opeinss” in con nection with a given work of at, These two expressions refer ta standard situation of which we are all aware in our reception of work of art: ve see itas the end product of an authors effort to arrange a sequence of communicative effects in wich a way that eich individual addressee can refashion the orginal composition devised by the author. The addressee is bound to enter ito an interplay of stimulus and response which depends on hia unique capacity for Sensitive reception of the pice, In this fenge the author presents finished product with the tention chat ths particular composition should be appreciated and received in the same form ashe devised i, Ashe rezetsto the play of simul and his ow response to their patterning, the individual addressee is bound to supply his own existential credentials, the Sense conditioning which s peculiarly his own, a defined culture, set of tastes, personal inclinations, and prejudices. ‘Thus, his eomprehension of the original artifact i al- ways modified by his parcula and individual perspective. In act, the form of the work of art gaine ie aestheie validity precisely in proportion to the number of diferent perspectives fram which ie ‘an be viewed and understood. These give it 2 wealth of diferent resonances and echoct without impairing its original rence: road traffic sign, on the other hand, can be viewed in only one sense, and, if its transfigured into some fantastic meaning by 2” imaginative deve, ie merely ceaee to be thet particular talc sige4__THE roerics oF THE OFEW WORK THE POETICS OF THE OPEN woRK 5 ‘with that particular mesning. A work of at, therefore, is 2 com- plete and cleted form in its uniqueness 2¢ a bslanced organic whole, ‘while a che same time constituting an open product on account of ite susceptibility to countless diferent interpretations which do not ‘impinge on its unadulterable specificity. Fenes, every reception of| a work of artis both an interpretation anda performance of it, because inevery reception the work takes on afresh perspective for ite, Nonetheless, itis obvious that works lke those of Berio and Stockhausen are “open” in a far more tangible sense. In primitive tecms we can say that they are quite literally “unfinished” che a thor scems to hand them on tothe performer more or les like the ‘components of a construction kit. He seems to be unconcemed about the manner of ther eventual deployment. Ths i loose and paradoxical inerpretaion of the phenomenon, but the most im ‘mediately striking aspect of these musical forms can lead eo this kkind of uncereainty, although ehe very fact of our unceraney is ‘tela postive feature: i invites us to consider why the eontempo= rary artist feels che need to workin this kind of ‘work out wha historical evolution of aesthetic ses itand which fictors in moder culture reinforced it. We are then in 4 pottion to surmise how these experiences should be viewed in the spectrum of a theorescal aesthetics. ousscur as observed tha the poetics ofthe “open” work tends to encourage “ats of conscious freedom" onthe pat ofthe performer snd place him at the focal point of 2 network of miles interel= tions, among which be chooses to set up his own form without being influenced by an external necsty which definitively pre- scribes the organization of the work in hand.? Ar thie point one ‘ould object (with reference to the wider meaning of “openness” already introduced in this essay) that any work of art, even i i is not passed on co the addresee in an unfinished state, demands a fre, inventive response if only heeause it eannct really be appre ciated unles the performer somehow reinvents it in paychological callaboration wich the author himself. Yer this remark represents the theoretical perception of contemporary aesthetics, achieved only after painstaking consideration of the fanction of artistic per- formance; certainly an artist ofa few centres ago was far (fom being aware of these issues. Instead nowadays itis primarily the artist who isaware ofits implications. In fat, rather than submie to the “openness” a an inescapable element of artistic interpretation, the subsumes into a postive aspect of his production, recasting the work so ato expose ito the maximum porsible “opening.” “The force of che subjective element in the interpretation of @ work of ar (ny interpretation implies an interplay between the Addressee nd the work at an objective fat) was noticed by classical ‘writers, especially when they se themselves to coasider the figu= rative arts In che Sophist Paro observes that painters suggest pro- portions not by following some objective canon but by judging them in relation to the angle ftom which they are seen by the ob- server. Vitruvius makes 4 distinction between “symmetry” and “euthythmy,” meaning by chis latter term an adjustment of abjec- «ive proportions to the requirements of subjective vision, The scentficand practical development ofthe technique of perspective ‘bears witness o the gradual maturation ofthis awareness ofan i= terpretaive subjectivity pitted against the work of art. Yet itis ‘cally certair that this awareness has led to 4 tendency fo operate ‘gains che “openness” of the work, to favor its “closing out." The various devices of perspective were just so many different conces- sions to the acual location ofthe observer in order to ensure that, helooked atthe figure in the ony posible ight way—thatis, the way the author ofthe work had preseribed, by providing various visual, Wes of information.’ ‘Above I discussed the principle of ambiguity as moral dispost tion and problematic construct. Again, modern psychology and ‘phenomenology use the term "perceptive ambiguities.” which in~ cates the availability of new cognitive postions tht fill short of ‘conventional epistemological stances and that allow the observer to conceive the world in afresh dynamics of potentiality before the fixative process of hab and familiarity comes into play. Husseal observed that cach state of consciousness implies the existence ofa horizon ‘which varies with the modification ofits connections together ‘vith other state, and ako widh sewn phases of duration. - Ineach external perception, fr instance, ee sides ofthe objec: ‘which are actually perelved suggest tothe viewer’ atenton the Uinperceived sides which, atthe presen, ate wiewed only in 3 rnonintitive manner and are expected to become elements of the succeeding perception. This proces is similar tox continu- ‘ou projetion which takes on anew meaning with each phase of the pereepuive process. Moreover, perception itself includes ho- rizons which encompass oer pereepivepossbiites, such as 4 person might experience by changing deliberately the dree- fiom of his perception, by taming his eyes one way intend of ‘nother, of by takings ep forward or sideways, and so forth Sartre notes that the existent object can never be reduced to a given series of manifestations, because each of these is bound to Stand in relationship with a continuously altering subject. Not only oes an object present diferent Abshanungen (or profiles), but also iferent points of view are available by way of the same Abichat lung. Tn order to be defined, the objece must be related back tothe total series of which, by virte of being one possible apparition, it is 3 member tn this way the traditional dualism between being and appearance is replaced by 2 straight polarity of finite and infinite, ‘which locates the infinite at che very core ofthe Finite, The sort of openness is atthe heart of every accof perception Ie characterizes ‘every moment of our erative experience. Iemeans that each phe~ nomenon seen co be “inhabited” by a certain power—in other words, “the ability to manifest itself by a series of real or likely ‘maniestations.' The problem ofthe relationship of phenomenon to its ontological bass is altered by the perspective of perceptive “openness” tothe problem of ts relationship t che multiplicity of ifferet-order peceptions which we can devive fom i ‘This intellecual postion is further accentuated in Merleau- Ponty How cananything ever present itself truly tou since ite eynthe- sis s never completed? How could | gain the experience ofthe ‘worl, 261 would ofan individual actuating his own existence, since none ofthe views ar perceptions | have of i ean exhaost ie and the horizons remain forever open? The belie in things and inthe world can only express che assumption of complete synthesis Its completion, however, ix made impos sible by the very nature of the perspectives to be connected ‘since each of them sends back to other perspectives through is ‘own hortons .. The contradiction which we fel exists be- tween the worl reilty and is incompleteness identi to the one that exists betwen the ubiquity of consciousness and its commitment to feld of presence. This ambiguovsness docs not represent an imperfection in the nature oF existence oF In thar of consciousness: ets very definition. . Consiout= ness, which is commonly taken as an extremely enlightened region, ix on the conreay, the very region of indetemina- ‘These are the sorts of problems which phenomenology picks out atthe very heart of our existential situation, Ie propose tthe srt is, a8 well as tothe philosopher and the psychologist, 2 series of declarations which are bound to act at stim to hie creative ctvity in the world of forms: “Iie therefore essential for an object and also forthe world to present themselves to usas open’... and as allways promising Fueure perceptions." Te would be quite natural for uso think that dis ight away from the old, solid coxcept of necessity and the tendency toward the am- biguous and che indeterminate reflect a cis of contemporary civ- ization. On the other hand, we might see these poetical systems, in harmony with modern science, 8 expressing the positive poss biley of though and action made avilable to an individual whoopen to the continuous renewal of his life patterns and cognitive processes. Such an individdal i productively committed to the de- felopment of his own mental facies and experiential horizons ‘This contrat is too facile and Manichsean. Our mai intent ha bboen to pick out « numberof analogies which reveal a reciprocal py of problems in the mot disparate ates of contemporary cul fure and which point to the common elements in a new way of looking athe word ‘What is atstakeisa convergence of new canons and requirements which the forms of are refit By way of whst we could term sm {ural homologies. This need or coma us to assembling 2 rigorous paalelsm-—ie i simply + case of phenomena like the "work in ovement” simultaneously reflecting matlly contrasted epste- ‘ological situations, as yet contradictory and noc satisfactorily ec- beled, Thus, the concepts of “openness” and dynamism may recall the terminology of quantum physis: indeterminacy and dis- Continuity. But atthe same time tley alo exemplify a number of ions in Einteinian physics = “The multiple polarity of eril composition in music, where the lene ot ed by an aot condoning ae cern, uires him to constivate his oven system of auditory relation ships" He mint allow such + center to emetgefom the sound ‘omtinaunn, Here are no privileged points of view, and all availble | perspectives ae equally valid and rich in potential. Now, this mul tiple plenty is extremely close co the spatiotemporal conception ofthe universe which we owe to ineein. The thing which esting {guises the Einstenian concept of the universe from quantum eps- femology is precisely this fih inthe totality of the univers, a Shivers in which discontinuity and indeterminacy can admitedy upset us with thelr surprise apparitions, bun fic, to use Einsteins ‘words, presuppose nota God playing random games with dice but the Divinity of Spinoza, who ralsthe world according to perfectly replated laws, In this kind of universe, reltviey means che infinite ‘atablity of experience st wells he nfinte mukipiaton of pos {ible ways of meanaring things and viewing their postion. But the | objective side ofthe whole system can be found inthe invariance of the simple formal descriptions (ofthe dierent equations) which tstablish once and fora te elatvity of empirical measurement. ‘Tg PORTICS OF THE OPEN Wo 19 ‘This isnot the place eo pass judgment on the scientif validity of the metaphysical constrict imped by Einstein's system. But there isa sinking analogy betveen his universe and the universe of the ‘work in movement. The God in Spinezs, who is made into an un- testable hypothesis by Einsteinian metaphysics, becomes 2 cogent realty for the work of art and matches the organizing impulse of ‘The possibities which the work's openness makes available a} ways work within a given fd of relationt. As in the Einsteinian univers, in the “work in movement” we may well deny that cere ‘isa single prescribed point of view. But this does not mean com= plete chaos in its internal relations. What it does imply x an org nizing rule which governs these relations. Therefore, to sum Up, ‘we can say thatthe "work in movement” isthe possibilty of nse ‘merous dffene personal interventions, bt ite nt an amorphous tation to-ndiscriminate participation. The performer the opportunity for an oriented insertion into something ‘which albways remains the world intended by he author, In other words, the author offers the interpreter, the performer, the addressee a work fo be completed. He does not know the exact fashion in which his work willbe concluded, but he is aware that ‘once completed the work in question wil sil be his own. Ie will not be a different work, and, atthe end of the interpretative logue, 2 form which is his form will have been organized, even though ic may have been assembled by an outside party in 3 pa ticular way the he could not have foreseen. The author ithe one who propose! 2 number of possibiites which had already been ‘ationally orginized, oriented, and endowed with speciation for proper development. Berio’ Seqtence, which splayed by different Aust, Stockhau- sens Klavirstie XI, or Pousseur Mobiles, which are played by diferent piansts (or performed twice over by the same pianists), will never be quite the same on different occasions. Yee they will never be gratuitously diferent. They are to besten a che sctali- zation ofa seres of consequences whose premises ae firmly rooted in the originaldata provided by the author "This happeas in the musical works which we have already ex- amined, and it happens also inthe plastic ariacts we considered ‘The common factor is mutability which i always deployed20__ THE PorTi¢s OF THE OPEN WORK within the specific imis of given ast, oof predetermined for- tral tendencies, and is authocised by the concrete pabliny ofthe tmatril ofered for the performers manipulation, Brecht’ pays pven to cic fee and arbitrary response onthe par of the sud cee. Vt they are lea thetoicly constructed in sch away sto lice a reaction oriened toward, and ukimately atipating, + ‘Mansstdaleese logic asthe basi forthe whole Sed of posible ‘All thee examples of “open” works and “works in movement have this latent characteris, which guarantees tat they will 3 ways be txt “works” and not ust ata conglomeration of ddom components ready to emerge from the chaos in which they Dreviouly ood and permited co anime any form whatever. ‘Nowy iconary clearly present us with thowsands upon thou sands of words which we Could ely use to compote poetry, e= $2ys on pysicy anonymous eters, or grocery He, Ines Sense the dictonary i clearly open to the reconstuton of era mat alin anyway thatthe tipastor wishes Bat thie does ex mak “work The “opennes” and dynamism of an arise work consist in factors which make ie sustepible roa whole range of Ingres, ‘They provide i with organi complements which they pea ito the structural vial orhichthe work altendy pos seste evenifitis incomplete Ths terri vil sel cen as 2 postive property ofthe work, eventhough it admis ofall Kinds cf iferetconcisions and salons fr “The preceding observations are necrssary because, when we speak 1 work of at, our Wester nesthete tradition Forces us to take fork” inthe sense of «personal production which may well vary in the ways it can be received but which always maintain 2 coher- tentidentity ofits own and which displays the personal imprint that makes it specifi, vital, and significant act of communication ‘Aesthetic theory is quite content to conceive of variety of eiferent poetics, but ulimately it aspires to general definitions, not neces Srily dogmatic or ub specie acters, which are capable of apply ing the category ofthe “work of art” broadly speaking toa whole varity of experiences, which can range from the Divine Comedy ©, sy, electronic composition based on the diferene permutations of Sonic component. We have, therfore, seen that (1) “open” works, insofar as they te in movement are characteriged by te invitation to make the work together with the author ad that () on a wider level as a subgenus in'the spe "work in movement”) there exist works which, though organically completed, ae “open” toa continuous genera ‘ion ofinernal relations which the addressee must uncover and se- lectin his act of perceiving the totality of incoming stimuli (3) Every work oC an, even though i is produced by fllowing an ex- plicit or implici poetics of necessity, i eecively open to a viru ally unlimited range of possible readings, each of which causes the ‘work to acquire new vitality in terms of one particular taste, ot perspective, or personal performance ‘Contemporary aesthetics has frequendly pointed out ths last characteristic of wery work of at. According to Luigi Pareyson: ‘The work ofa... 2 form, namely of movement, that has been concded; or we can seit 2s an infinite cantsned within finiteness... The work therefore ha infinite aspects, which sre not ju “parts” o fragments of i, because each of them ‘contin’ the roality af che work, and reveal fe acording co 4 ven perspective. So che variery of performance i founded both inthe complex ficeor ofthe performer’ individvalty and in that of the work tobe performed... The init points of view of the performers and the infinite aspects ofthe work teract with each other, come into juxtaposition and daify each ‘other by 2 reciprocal process, in uch 4 way thats given point ‘of view is capable of reveling che whole work only i grasps itin the relevant, highly personalized aspect. Analogously 4 Single aspect of the work cam only reveal the eotalty of the work in arew light itis prepared to wait forthe right point of view capable of grasping and proposing che work in allie vieaity. ‘The foregoing allows Pareyson to move on tothe assertion that all performances are define inthe sense eat each one i or the performer, tantamount to the work iself equally al per= formance: re bound ‘0 be provisional in the sense that cach performer knows that he muse always ery to deepen his own Interpretation ofthe work. Ineofr as they are defntve, these22_THE POETICS OF THE OFEN WORK THE POETICS OF THE OMnW woRK 23 interpretations are pale, snd cach of them i such a5 to ex- ‘de the others without in any way negating chem. © “This doctrine can be applied tall artistic phenomena and wo art ‘works throughout the ages. But itis useful to have underlined that now isthe period when aesthetics has paid especial attention to the ‘whole notion of “openaess” and sought co expand jt. In a sense these requirements, which aestheties has ceferred widely to every type of artistic production, ate the same as those posed by the po- eties of the “open work" in a more decisive and explicit fashion. Yer this does not mean that the existence of “apen” works and of “works in movement” adds absolutely nothing to our experience because everything in the world is already implied and subsumed by everything ele, from che beginning of time, in the same way that ie now appears that every discovery has already been made by the Chinese. Here we have to distinguish between the theoretical level of acsthtics asa philosophical disipline which attempts to Formulate definitions and the pracical level of poetics as program= mati projects for creation. While aesthetics brings to light one of the fandamental demands of contemporary cultue, it also reveals the latent possibilities ofa certain typeof experience in every artistic product, independently of the operative ertria which presided ver its moment of inception. "The poetic theory or practice ofthe “work in movement” senses this posibiley a6 a specific vocation. Ie allies itself openly and slf= ‘consciously to current trends in scientific method and puts into section and tangible form the very rend which aesthetics has already acknowledged as the general bickgrotind to performance. These Poetic systems recognize “openness” atte fundamental possiblity ‘ofthe contemporary ats of consumer. The aesthetic theoretcian, in his turn, will se a confirmation of his own intuitions in these practical manifestations: hey constitute the ukimate realization of 4 receptive mode which can fiancton at many diferent levels of| incensty Censinly this new receptive mode viseiwvis the work of art ‘opens up a much vaster phase in culture and in this sense is not ‘nreleetally confined to the problems of aesthetics. The poetics of | the "work in movement” (and pardy that of the “open” work) sets in motion a new cyde of relations between the artist and his audi- ce, anew mechanics of sextet perception, ferent statu oe the ares productin contemporary sockeyTcopen shew page sociology sri pedagogy; a wellar anew caper nthe hoy ‘fat leposenew prac problems by opunsing new comin: icative staat. In short inst new rains between thon he isan of wo cen in these erms and pune the background of historic ne Alacer earl inerpiy which ink by analogy 9 wily diverted aspects ofthe contemporary worldview he stoner of scien Ee tonite roca pment ar fom being fll accounted for and catgut it deploy ana Problemstn seal dimensions Tasha ts an “epen*seon in movement, A work in progress. :Notes “The Pastis ofthe Open Wark 1. Here we mos eliminate a posible misunderstanding straightaway: the practical interetion ofa "peformes” the instrament who plays 2 piece af mnie or the acto wh relies «patae) diferent rom thet ‘of an incerprete inthe Sense of consumes (omebody who looks 3» p= tare, sen reagsa poem, or listens toa musical eompostonpeformed by somebody el For the purposes of sexthere asl, however, both ‘ses can be sen diferent maniferation ofthese nerpretaive at ‘ude. Every “realing,""conemplation,” or “enjoyment” of work of !rtrepresens a taco private form of “performance” 2 Hend Poussese, “La nuovssesibliea muscale, (ay 1938): 25. 4 For the evoluson of pre-Romantic and Romantic postin thi snse, sce L. Ancsch, Autonoma ed eteronomia delat ade (Florence: Vale leech 1930). 4 Sce W ¥. Tindall, The Lteary Spl (New York: Columbia Uni venity Press, 19). Foran analysts ofthe aesthetic importance of the ‘nobon of ambiguiy, see the wsful observations snd bibliographical refet= ‘nce in Gila Dofes, dvi dle ar (Tara: Esau, 1959), pps ‘5 Edmund Wikon, Azels Cane (Londen: Collins, Fontana Libary, 1961). 6 Pouseor, “Lanvova sensibilith masical” pa, 27) Schérer Le "Lime de Mallard: rome recherche res ocaments sindbis Pais: Galina, 1957), Se patel the tied chapter, “Phy sigue dive, 8. Werner Heiexberg, Phys and Pilsophy (London: Allen and Un= vin 1959) ch 3 9. Nils Bob, is his epistemological debate with Hint sce B.A, Schipp ed, Alber Eis: Phleropher Scent (Evanston, Library of Living Phiosophes, 1949). Epstemological thinkers connected with econ masa 3asa NOTHS To PACHS 1627 quantum methodology have ighly warned agsns an ingesous tans Flntdon of physical esogoin imo the ld of ees and pycholgy or ‘imple the entfcaon of indeterminacy ith moral edn ee Fn roe fa 9 Stowe, Opening Ais th Seventh a tonal Congres of Posophy. Wenc, September os). enc, wou seri janind ound my friaton manga leg b= {wean he stature of te work Of at an the spore ratte ofthe Novi. Indeerminecy complementary, noncrualty are wot mae of ein he phys! wor, but syst tin a convient Way ‘Thevelaoshp which comers my expeston not the suppose nes tesween an “ontlogcl” station and morphologlfesure in the soko bth eon ewan peri prea ee Ine physical poceses anda ope procedure or explaining the po. {hots of artic producion and expion. In other words thereaonhip ‘ec awe meted ard pos to. Edin Huse, Méduo coos, Med. 2, pat 1 Pasi ‘rns 5suap 39: Th tration of tha pasge by Anne Fabre Lae "1 Joma Ste, Lt enn Pa Gala 943} ch TM Merkur Pony, Peondaalge deepen (a8 Cala 1943) pe, srt ae pe On th eccement molidiectone es strcrre." see A Bowe courechlew, *Problémes dea musique moderne,” Nowell revue (December Jantary, 1980-8). 15, igi Pareysn, Evetca Tera dla omatvi, and ed. (Balogns: Zanichels 1960), pp. tal, and in general the whole of chapter “Let- ‘ira inerpetnonee cities” 2: Analysis of Poetic Language 1, Benedeto Croce, Bevis det, oth ed. (ari Later, 167) pt 2 bid pt. 3 Jon Bene, Arta Experience (New Yor: Minton Balch 934 ch arp wrins Trey even ben sce of eam. Se S.C Pepper, “Some ‘signs oa Dewey's fests" in The Phisopy ef] Dewy (Evan Bu ind Chesge: Noriwetern Unicity Pre, 1039) ep B37! fponns According vo epper, Dewey seats binge tether 60 ‘ompuible tenders: organic and pragma Dewey, Aras Expert chp. 198 état ap NOTES To PAGES 27-29 253 Bid ch 59-98 iid hp. tes, Whey i flow sat ihe soe a wok of arvomenred te mtr ad vay a eenens coking fom bat ‘Spence that reorganised woe een edad sow" ch peo) Tis ep. Th, ome a yh "ie aren, wh coe univers See can onus new pron Fae senna rap a Yorks Now oer am ey nnn bar ew Ti, Nea ae, Prete 0 Roman kbion, Eat igi sda ni: Eons de Mii) pot Se emis Seed Wing Che Hap: seen, tn) seth Set! Wag vol p38 13 Ine wang analy sal Se ely 0n he notions ofthe ial yl) se ene sf ngage ee Open Indl A Richart The Meng of Meng London Regen al, Tee Traber, 55 1. 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