Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 168
... desires . The Freudians , of course , repudiate these charges . All desires are fundamentally sexual , they reply ; and all overabundance of de- sire is discharge of basic sexual desire or the attempt to compensate for previous ...
... desires . The Freudians , of course , repudiate these charges . All desires are fundamentally sexual , they reply ; and all overabundance of de- sire is discharge of basic sexual desire or the attempt to compensate for previous ...
Stran 170
... desire , that is , making believe that a desire is satisfied . Making believe that a desire is satisfied is no satisfaction , Ducasse asserts ; and , consequently , Parker's theory , which depends on the experience of make - believe as ...
... desire , that is , making believe that a desire is satisfied . Making believe that a desire is satisfied is no satisfaction , Ducasse asserts ; and , consequently , Parker's theory , which depends on the experience of make - believe as ...
Stran 171
... desire is somehow a substitute satisfaction of a specific desire . In both Freud and Parker , there is this tacit assumption that there are various modes of satisfying the same desire . Consider our desire for fame . Both Freud and ...
... desire is somehow a substitute satisfaction of a specific desire . In both Freud and Parker , there is this tacit assumption that there are various modes of satisfying the same desire . Consider our desire for fame . Both Freud and ...
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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