Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 56
Stran 28
... fact depict events but that he is convinced that the discipline of narration belongs intrinsically to literature , since literature can serve narration best ; and , further , that painting which offers more than a rendition of ...
... fact depict events but that he is convinced that the discipline of narration belongs intrinsically to literature , since literature can serve narration best ; and , further , that painting which offers more than a rendition of ...
Stran 177
... fact that the child is accompanied by the parent ( or someone else close to him ) who he sees is without fear when they enter the room and with whom he identifies . The child is cured , if he is , because of the fact that someone else ...
... fact that the child is accompanied by the parent ( or someone else close to him ) who he sees is without fear when they enter the room and with whom he identifies . The child is cured , if he is , because of the fact that someone else ...
Stran 200
... fact that Werther is essentially sentimental in its expressive qualities and Hamlet is not make Hamlet a better work of art for those who prefer the tragic to the sentimental ? Further , is there not some cogency in the fact that in ...
... fact that Werther is essentially sentimental in its expressive qualities and Hamlet is not make Hamlet a better work of art for those who prefer the tragic to the sentimental ? Further , is there not some cogency in the fact that in ...
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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