
Source: The Principles of Art (1938), p. 268
Source: The Principles of Art (1938), p. 269
Source: The Principles of Art (1938), p. 268
Footnote at pp. 126-127; As cited in: Adam Schaff (1962). Introduction to semantics, p. 313-314
The Origins and Prehistory of Language, 1956
"Deep and surface structure"
Quotes 2000s, 2007-09, (3rd ed., 2009)
Source: Conceptual Art, (1984), as cited in: " Ian Wilson, plug in #47; exhibition 27/09/2008 - 08/03/2009 http://vanabbemuseum.nl/en/programme/detail/?tx_vabdisplay_pi1%5Bptype%5D=18&tx_vabdisplay_pi1%5Bproject%5D=349 at Van Abbemuseum.nl, The Netherlands.
Source: 1970s and later, Explorations in the functions of language, 1973, p. 41 cited in: Sin-wai Chan (2004) A dictionary of translation technology. p. 113.
Elements of Refusal (1988)
As cited in: Geza Revesz, The Origins and Prehistory of Language, London 1956. footnote pp. 126-127; As cited in: Adam Schaff (1962). Introduction to semantics, p. 313-314
Language (1921)
Source: Cours de linguistique générale (1916), p. 112
Context: The characteristic role of language with respect to thought is not to create a material phonic means for expressing ideas but to serve as a link between thought and sound, under conditions that of necessity bring about the reciprocal delimitations of units. Thought, chaotic by nature, has to become ordered in the process of its decomposition. Neither are thoughts given material form nor are sounds transformed into mental entities; the somewhat mysterious fact is rather that "thought-sound" implies division, and that language works out its units while taking shape between two shapeless masses. Visualize the air in contact with a sheet of water; if the atmospheric pressure changes, the surface of the water will be broken up into a series of divisions, waves; the waves resemble the union or coupling of thought with phonic substance.