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The first is that for the expression theory to be an account of musical expressivity, at least all central cases of expressivity must follow this model, which is not the case.
This brings us to the second major problem for the expression theory.
Dickie (2001) says that Dewey sets forth an expression theory of art without any supporting argument.
Overall, the current experiment was supportive of the proposed anger expression theory within the larger context of the quadrant model.
In lecture notes Reid appears partially to endorse expression theory and partially to endorse emotional arousal theory.
Although Hospers (1946) does not specifically criticize him, and Bouwsma (1954) does not mention him, their attacks on expression theory can be taken to be indirectly against Dewey.
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Emotional arousal theories of art are closely related to expression theories since both appeal to emotion as an essential feature of an artwork's aesthetic quality, but they differ on a crucial point.
But if an artwork's aesthetic properties are those properties that have been imbued in it in part through the artist's experience of emotion, presumably the nature of the creative process bears heavily on expression theories of art.
First, if we interpret Reid's discussion of aesthetics developmentally and we therefore discount certain commitments in Lectures that are not repeated in Intellectual Powers, then Reid skirts some traditionally troublesome problems for expression theories of art.
We present a discussion of facial emotion expression theories and a review of contemporary emotion expression coding methodology.
It urged philosophers not to be distracted by the contingencies of the particular form of linguistic expression a theory might be found in, say, a particular textbook.
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