Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 45
Stran 116
... basic thesis of Hanslick and the soundest compromise between the autonomous and heteronomous positions in musical aesthetics . Considered independently of its historical development , we may say that the whole problem of autonomy versus ...
... basic thesis of Hanslick and the soundest compromise between the autonomous and heteronomous positions in musical aesthetics . Considered independently of its historical development , we may say that the whole problem of autonomy versus ...
Stran 125
... basic materials , irrespective of the subject elements . This is the basic conviction not only of Moore but also of Brancusi , Archipenko , Zadkine , Lachaise , and Lehmbruck , all of whom are among the creative forces of modern ...
... basic materials , irrespective of the subject elements . This is the basic conviction not only of Moore but also of Brancusi , Archipenko , Zadkine , Lachaise , and Lehmbruck , all of whom are among the creative forces of modern ...
Stran 130
... basic conviction of the self - sufficient , all - inclusive character of the bodily medium of the dance . Martha Graham has been one of these . Today Martha Graham is generally regarded as the greatest living " modern " dancer . And yet ...
... basic conviction of the self - sufficient , all - inclusive character of the bodily medium of the dance . Martha Graham has been one of these . Today Martha Graham is generally regarded as the greatest living " modern " dancer . And yet ...
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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