Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 21
Stran 48
... associations . Here Bell and Fry and Bradley are right : Do not respond to the referent or the associations of the referent , but to the content . If the content of a work of art is conceived as all of its ex- pressive elements ...
... associations . Here Bell and Fry and Bradley are right : Do not respond to the referent or the associations of the referent , but to the content . If the content of a work of art is conceived as all of its ex- pressive elements ...
Stran 114
... associations with the sounds . And all the meanings of a certain composition are personal , arbitrary , capri- cious , and different with different listeners . This is a curious phe- nomenon , that a language should consist of nothing ...
... associations with the sounds . And all the meanings of a certain composition are personal , arbitrary , capri- cious , and different with different listeners . This is a curious phe- nomenon , that a language should consist of nothing ...
Stran 150
... associations that embody the truth claim . The subject of the landscape is usually the represen- tation of old , decaying trees being contrasted with the representa- tion of young , powerful - looking , new trees . We interpret this ...
... associations that embody the truth claim . The subject of the landscape is usually the represen- tation of old , decaying trees being contrasted with the representa- tion of young , powerful - looking , new trees . We interpret this ...
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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