Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 51
Stran 35
... analyses are required . Let us begin with the analysis of a distinction that , I think , is responsible for more of the difficul- ties in contemporary aesthetic thought than any other - the form- content distinction . Now , in order to ...
... analyses are required . Let us begin with the analysis of a distinction that , I think , is responsible for more of the difficul- ties in contemporary aesthetic thought than any other - the form- content distinction . Now , in order to ...
Stran 94
... analysis , regardless of the aesthetic conclu- sions we draw from it . In our analysis or reading of the poem , we shall exclude a num- ber of things . First , we shall not be concerned with the poem as a biographical datum relating to ...
... analysis , regardless of the aesthetic conclu- sions we draw from it . In our analysis or reading of the poem , we shall exclude a num- ber of things . First , we shall not be concerned with the poem as a biographical datum relating to ...
Stran 103
... Analysis of the Poem This concludes our detailed reading of the poem . This reading is the sine qua non of an aesthetic analysis . The question now arises , are these extended interpretations part of the poem or a substitute for it ...
... Analysis of the Poem This concludes our detailed reading of the poem . This reading is the sine qua non of an aesthetic analysis . The question now arises , are these extended interpretations part of the poem or a substitute for it ...
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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