Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 20
Stran 106
... death in the sense of being nothingness for a death ( the casting off of the purposeless existence ) which is the first stage of true life or salvation . This brings us to metaphor . No poem illustrates better than this one the modern ...
... death in the sense of being nothingness for a death ( the casting off of the purposeless existence ) which is the first stage of true life or salvation . This brings us to metaphor . No poem illustrates better than this one the modern ...
Stran 145
... death , is never stated as a printed sentence anywhere in the entire poem ; yet it is part of the total poem as surely as the con- notative overtones of coffee spoons are within the poem , even though they are never printed either ...
... death , is never stated as a printed sentence anywhere in the entire poem ; yet it is part of the total poem as surely as the con- notative overtones of coffee spoons are within the poem , even though they are never printed either ...
Stran 147
... Death * Painting and Truth Claims So much for the emotive theory and the problem of artistic truth as it applies to literature . What can we say of painting and truth ? Can paintings make truth claims ? Erwin Panofsky , one of the ...
... Death * Painting and Truth Claims So much for the emotive theory and the problem of artistic truth as it applies to literature . What can we say of painting and truth ? Can paintings make truth claims ? Erwin Panofsky , one of the ...
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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