“Content and Form” Equalizes Many Other pair of words e.g. Reality and Appearance, Substance and Artificiality, Serving as a Simple Analytical Tool.
1. Most Simple Analytical Tool
This theme is cotangent with every situation where appearance and reality matter. With specific reference to composition of poetry or verse this theme becomes all the more tangible. Use of words with a definite diction is called form of a piece of poetry or prose.Whereas meaning hidden therein will be called the content.
Substance and superficiality are two words most popular among the masses. But they must have attained to some maturity. Substance is essence of any commodity. It may be a pair of shoes. Which is very attractive. But when put to practical use, it is torn into pieces within a few weeks. nil is the substance of these shoes . For all practical purposes this serves as the most useful analytical. A tool for everybody from top to lower rungs of society is this.
2. Example of A Pure Form with Least Content
For example, a person that never went to a school or college. But somehow came to learn alphabet and counting. May pose a very impressive personality. He has got latest model of Mobile, can send e-mails to his friends and is abreast of times by seeing latest movies and interacting with people of all colors and tastes on social networks. It proves that school-going, book-reading and thesis-writing is not necessary for a successful life.
3. Example of A Pure Content with Least Form
These types of examples are rife in history. Clerk in ‘Nuns Priests Tale’ by Chaucer, is penniless and thrives on stipends. There have been numberless examples of people having passed their Masters but mostly jobless. They all have fully imbibed all kinds of content. For example, substance and realities in the form of different kinds of knowledge, formulas, theories, ideologies, hypothesis etc.
4. Sincerity Versus Diplomacy
Sincerity needs to simulation firstly because it is neither fearing anybody not it is in any reward. Its reward is with God. But on the other hand Diplomacy is always in the danger of exposure and consequently
5. Essence of a Commodity Versus Advertising/Publicity Regarding the Commodity
When a genuine product is manufactured, its counterfeit versions also come out. Sometimes a fake brand becomes more popular on account of its advertising campaign.As Perception is greater than reality, The Advertised Form takes over Genuinely Initiated Form.
EXPERT APPROACHES BY SCIENTISTS, ARTISTS AND PHILOSOPHERS
1. Relationship Between Form and Content
Two mutually connected paradoxes appear too, from the fundamental concept of experiencing aesthetics:
i.FIRST PARADOX: The first was given extended consideration by Hegel. He argued, roughly as follows: Our sensuous appreciation of art concentrates upon the given “appearance” i.e. Form.
Because it addresses itself to our sensory appreciation. The work of art becomes essentially concrete. It then become understandable by an act of perception rather than by a process of discursive thought.
At the same time, our understanding of the work of art is in part intellectual. We seek in it a conceptual CONTENT. Which it presents to us in the form of an idea. One purpose of critical interpretation is to expound this idea in discursive form—to give the equivalent of the content of the work of art in another, nonsensuous idiom.
In losing its individuality, the content loses its aesthetic reality. it thus ceases to be a reason for attending to the particular work of art. It is this which first attracted our critical attention. It cannot be this that we saw in the original work. Which explained its power over us.
Think of a case of content displayed in the discursive idiom of the critical intellect. It is no more than a HUSK. Just an abandoned keepsake of a meaning that dodged us in the act of capturing it.
Hegel’s argument is the archetype of many, all aimed at showing that it is both:
(a) necessary to distinguish from content and
(b) also impossible to do so.
2. KANT’S ANTINOMY
This paradox (The First Paradox) may be resolved by rejecting either of its premises, but, as with Kant’s antinomy, neither premise seems dispensable. To suppose that content and form are inseparable is, in effect, to dismiss both ideas as illusory,since, no two works of art can then share either a content or a form—the form being definitive of each work’s individuality.
3. A RELATED PARADOX
(The Second Paradox) is sometimes referred to as the
“heresy of paraphrase,” again by Brooks. What is the heresy? Heresy is
“Assuming that a work of art and especially poetry can be paraphrased.”
4. The Gist or purport of poem constitutes exactly what that is not explainable according to Brook. Meaning of poetry is riveted with the specific temperament of words, their diction and rhythm , in a nutshell “Sensory Embodiment” According to Brooks.If you paraphrase a poem or a work of art, it will either cease to be a poem or a work of art.
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MORE FROM HEGEL ON CONTENT AND FORM
Hegel says that content is not formless but it has got its own self-form. In this way there are two layers of forms. On form is reflected into itself and is in sync with content. But second form is neither reflected to itself nor does is affect the content. In this way content and form are constantly in reciprocal revulsion i.e. they revulsion of each other. not reflected to itself. Though one of the most important rule of thinking and but it is not tested against the Relations of substance and causality.
PICASSO ON CONTENT AND FORM
Picasso, the famous artists says:
“When I paint a bowl, I want to show you that it is round, of course. But the general rhythm of the picture, its composition framework, may compel me to show the round shape as a square. When you come to think of it, I am probably a painter without style. ‘Style’ is often something that ties the artist down and makes him look at things in one particular way, the same technique, the same formulas, year after year, sometimes for a whole lifetime. You recognize him immediately, for he is always in the same suit, or a suit of the same cut. There are, of course, great painters who have a certain style. However, I always thrash about rather wildly. I am a bit of a tramp. You can see me at this moment, but I have already changed, I am already somewhere else. I can never be tied down, and that is why I have no style,” ~Picasso
II – PHOTOGRAPHY IN TERMS OF CONTENT AND FORM
1. Photography is a visual language
A street photographer uses form or visual lyrics to direct the viewer to a glance with a particular angle to the content that is the intended story objectified by the photographer.
2. Documentary Photography Versus Street Photography
Subjectivity enters to modify the reality to a particular angle to represent a desired picture to the public. A street photographer have enough clues eliminate or add particular elements for manipulation of a scene by waiting till the required elements are focused though that may be a timely, a partial or an accidental depiction of the scene. This is not a Setting-up a shot but a overwhelming tilt in favor a particular viewpoint.Read Full article here:
III – RHETORIC
Content and Form constitutes a basic division between WHAT is being conveyed and HOW is it conveyed which are essential demands of Rhetoric. The world inherited this division right from Aristotle in the form of ‘logos’ i.e. content and ‘lexis’ i.e. style or form.
The division between form and content is through and through unnatural.Attempts at severing two apart are frustrated. But this division continues to be maintained on a view of language as something more than just meant for persuasion but also thought it self.The division from this angle is ticklish as thought and ideas have been preferred over language since at least from Plato.
This theme becomes very trying when rhetorician insist that terminology of different disciplines of abstract philosophies like religion but the cleric are prone to stick to dogmas and metaphysical absolutes, as the language is intrinsically social in character.
IV – Story-Writing/Film-making and Content and Form
It is the pressure and intensity of a feeling, when it has to find some expression or demonstrations, demarks its dimensions. It then takes its own flow according to the genesis of the content and the current environment. It may be take a FORM like water flowing from the outlets of waterfalls. Or if the intensity of the content is extraordinary, it may be erupted like a volcano and making its own way like the lava. Content is first generated. It may be having some shape but not a definitive one. Slowly the content starts growing and seeking proper forms for its display or demonstration. I have differed from the scholarly discussion found at the link below.
Read Full article: Content Vs Form
CONTENT AND FORM IN ART
In a work of art, style, tecniques and media used points towards its Form. On the other hand the gist or quintessene of a work of art displayed or portrayed are pointed out by the word Content.Read full article here:
Many a people were of the view that Art related only to Form through which some aesthetical impressions were conveyed to them. One of such a person expresses his views at the following link:Read:form-vs-content-what-is-art-anyway?
V – PHILOSOPHY
Warning! The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.Content and form is merged into each other and thus giving shape to a Unity. Content and form are two interrelated categories. Content is endowed with thriving mobility which ultimately outlives the current form which is a stable. The content eventually takes on some other form. This theory seems to cater for the requirements of communism. That is why a WARNING is prefixed this article.