Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 46
Stran 70
... human experience , and not merely transparent or opaque symbols . Some paint textures are like some features of human experience . This is our thesis . The rough , heavy , chunky texture of the Rouault is iconic with the rough , heavy ...
... human experience , and not merely transparent or opaque symbols . Some paint textures are like some features of human experience . This is our thesis . The rough , heavy , chunky texture of the Rouault is iconic with the rough , heavy ...
Stran 115
... human will . Music is thus an iconic language which has but one referent ... experience than the will . To have shown that it can do so is the ... human experience . Musical sounds , functioning as the stimuli of our auditory experiences ...
... human will . Music is thus an iconic language which has but one referent ... experience than the will . To have shown that it can do so is the ... human experience . Musical sounds , functioning as the stimuli of our auditory experiences ...
Stran 116
... human experience or only associ- ated with these features of human experience in the way that transparent symbols are ? But his fundamental claim is sound , so far as it goes . Human beings have many experiences , each with its ...
... human experience or only associ- ated with these features of human experience in the way that transparent symbols are ? But his fundamental claim is sound , so far as it goes . Human beings have many experiences , each with its ...
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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