Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 44
Stran 24
... Bell and Fry , then , is that it has singled out one element , the form , as the es- sence of art , to the total neglect of the imaginative and linguistic elements , the content . To this criticism we may reply that , in the first place , ...
... Bell and Fry , then , is that it has singled out one element , the form , as the es- sence of art , to the total neglect of the imaginative and linguistic elements , the content . To this criticism we may reply that , in the first place , ...
Stran 25
... Bell and Fry : Ought art to contain these nonplastic spiritual values ? Bell and Fry , for reasons which we have already set forth , assert that art ought only to exhibit our vision of reality as significant form ; that pure art ought ...
... Bell and Fry : Ought art to contain these nonplastic spiritual values ? Bell and Fry , for reasons which we have already set forth , assert that art ought only to exhibit our vision of reality as significant form ; that pure art ought ...
Stran 26
... Bell and Fry affirm as strongly as Parker that art communi- cates emotion , and that this communication evokes a similar emo- tion in the spectator . What Bell and Fry do deny is that art ought to communicate and evoke any emotion ...
... Bell and Fry affirm as strongly as Parker that art communi- cates emotion , and that this communication evokes a similar emo- tion in the spectator . What Bell and Fry do deny is that art ought to communicate and evoke any emotion ...
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A. C. Bradley abstract abstract art accept aesthetic experience aesthetic theory aestheticians analysis appreciation of art art object assertions attitude basic believe Bell and Fry Bell's Bertrand Russell Cézanne Cézanne's chap character characteristics Cleanth Brooks Clive Bell communication complex conception constituents contemplation criticism Cubism depth meanings Desdemona desire doctrine dramatic Ducasse Ducasse's El Greco Emilia emotionalist evaluation example expressive qualities fact Fascism feelings form and content formalism Fry's function Hanslick human experience I. A. Richards Ibid iconic ideas imaginative indulgence interpret italics in original John Hospers kind language line and color literature medium modern motion picture nature novel ordinary organic theory painting Parker Philosophy plastic elements poem poetry problem Prufrock psychological pure purism question rejected relation representation Richards Roger Fry satisfaction semantical sense significant form specific spectator symbolic art T. S. Eliot theme theory of appreciation thing tion transparent symbol values whole