Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 29
Stran 20
... course of our inquiry . Our interest in it here will be confined to those aspects of his views that are relevant to his critique of Bell and Fry . All art , Parker begins , has a threefold character : as imagination , as language , and ...
... course of our inquiry . Our interest in it here will be confined to those aspects of his views that are relevant to his critique of Bell and Fry . All art , Parker begins , has a threefold character : as imagination , as language , and ...
Stran 30
... course , this renders the conflict between the intellectualism of Neo - Thomist aesthetics and the formalism of Bell and Fry identical with that of Parker and the formalists : What is the aes- thetically legitimate range of artistic ...
... course , this renders the conflict between the intellectualism of Neo - Thomist aesthetics and the formalism of Bell and Fry identical with that of Parker and the formalists : What is the aes- thetically legitimate range of artistic ...
Stran 211
... course , Panofsky does not do ) in which lines and colors have meanings just as surely as representations of natural objects or his- torical events . And the reason the distinction breaks down , and especially for Panofsky , when we ...
... course , Panofsky does not do ) in which lines and colors have meanings just as surely as representations of natural objects or his- torical events . And the reason the distinction breaks down , and especially for Panofsky , when we ...
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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