Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 18
Stran 21
... imaginative " way , which is completely internal and oper- ates mainly within the medium of the day dream or the night dream . The imagination exists , then , to provide satisfaction of desires . All works of art contain this imaginative ...
... imaginative " way , which is completely internal and oper- ates mainly within the medium of the day dream or the night dream . The imagination exists , then , to provide satisfaction of desires . All works of art contain this imaginative ...
Stran 24
... imaginative expression , but a perfectly natural and inevit- able development of expression , when it is an end in itself.11 Parker's main criticism against the formalism of Bell and Fry , then , is that it has singled out one element ...
... imaginative expression , but a perfectly natural and inevit- able development of expression , when it is an end in itself.11 Parker's main criticism against the formalism of Bell and Fry , then , is that it has singled out one element ...
Stran 170
... imaginative way , in which desires are satisfied wholly within the person seeking satis- faction , with no relation to the environment . The second mode of satisfaction is as genuine as the first since it makes us content . Thus ...
... imaginative way , in which desires are satisfied wholly within the person seeking satis- faction , with no relation to the environment . The second mode of satisfaction is as genuine as the first since it makes us content . Thus ...
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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