Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 15
Stran 111
... assert or deny some proposition or other . But this seems to be an unnecessarily narrow view , for there are modes of communication in which nothing is asserted ( or denied ) ; that is , no claim is made ; rather , something is ...
... assert or deny some proposition or other . But this seems to be an unnecessarily narrow view , for there are modes of communication in which nothing is asserted ( or denied ) ; that is , no claim is made ; rather , something is ...
Stran 137
... assertions ( or else that they imply assertions ) . ' " 6 This " way out " has already been indicated by DeWitt Parker , in his formulation of the concept of " depth meaning . " Many poems and some works of plastic art possess what I ...
... assertions ( or else that they imply assertions ) . ' " 6 This " way out " has already been indicated by DeWitt Parker , in his formulation of the concept of " depth meaning . " Many poems and some works of plastic art possess what I ...
Stran 149
... assertion or truth claim about the world . Specifically , the act itself includes , as one of its constituents , the assertion or claim that there is a God Who is worthy of human respect . Instead of affirming the proposition , " That ...
... assertion or truth claim about the world . Specifically , the act itself includes , as one of its constituents , the assertion or claim that there is a God Who is worthy of human respect . Instead of affirming the proposition , " That ...
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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