Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 19
Stran 163
... believe the fundamental claim of the poem . Thus , in the case of " Prufrock , " this group would say , if we do not believe that there are two kinds of life , etc. , then we ought to reject the whole poem as a work of art . Readers of ...
... believe the fundamental claim of the poem . Thus , in the case of " Prufrock , " this group would say , if we do not believe that there are two kinds of life , etc. , then we ought to reject the whole poem as a work of art . Readers of ...
Stran 170
... believe ( im- agining ) satisfies our desires . So far as appreciation is concerned , the spectator of the work of ... believe experience ; and the imaginative satisfaction of a desire , that is , making believe that a desire is ...
... believe ( im- agining ) satisfies our desires . So far as appreciation is concerned , the spectator of the work of ... believe experience ; and the imaginative satisfaction of a desire , that is , making believe that a desire is ...
Stran 171
... believe that some desire or other is being satisfied . The real quarrel with Parker , at least so far as I am concerned , is not on this issue but rather has to do with his doctrine that the imaginative satisfaction of desire is somehow ...
... believe that some desire or other is being satisfied . The real quarrel with Parker , at least so far as I am concerned , is not on this issue but rather has to do with his doctrine that the imaginative satisfaction of desire is somehow ...
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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