Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 90
... evaluation , we may still insist upon one criterion : that the symbol be integrated with the other elements and play a contributing role . Such a criterion would rule out much of “ symbolic ” art in which the plastic elements are so ...
... evaluation , we may still insist upon one criterion : that the symbol be integrated with the other elements and play a contributing role . Such a criterion would rule out much of “ symbolic ” art in which the plastic elements are so ...
Stran 162
... evaluation of the facts ; which leads us from knowledge to wisdom . Wisdom , that is , the evaluation of the human scene , is more than emotive ; it involves also certain truth claims about the nature of life and experience . There is ...
... evaluation of the facts ; which leads us from knowledge to wisdom . Wisdom , that is , the evaluation of the human scene , is more than emotive ; it involves also certain truth claims about the nature of life and experience . There is ...
Stran 164
... evaluation of the poem . The attitude of mature belief recommends that we apprehend the theme as one element in a ... evaluations . How can we justify our recommendation ? We can do 164 PHILOSOPHY OF THE ARTS.
... evaluation of the poem . The attitude of mature belief recommends that we apprehend the theme as one element in a ... evaluations . How can we justify our recommendation ? We can do 164 PHILOSOPHY OF THE ARTS.
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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