Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 51
Stran 110
... language ? " Both affirmative and negative answers to these questions , it is important to note , have been based upon the same assumptions as to the nature of a language and the meaning of meaning . Musical aes- theticians who have ...
... language ? " Both affirmative and negative answers to these questions , it is important to note , have been based upon the same assumptions as to the nature of a language and the meaning of meaning . Musical aes- theticians who have ...
Stran 111
... language is taken to be communication in which propositions are affirmed ( or denied ) . On this view , music would be accepted as a language if it could be used to assert or deny some proposition or other . But this seems to be an ...
... language is taken to be communication in which propositions are affirmed ( or denied ) . On this view , music would be accepted as a language if it could be used to assert or deny some proposition or other . But this seems to be an ...
Stran 135
... language ? The most imposing , perhaps even the most accepted , view today is that art is an emotive language . Ducasse and I. A. Richards are among the champions of this view . Ducasse writes : " Art is essentially a form of language ...
... language ? The most imposing , perhaps even the most accepted , view today is that art is an emotive language . Ducasse and I. A. Richards are among the champions of this view . Ducasse writes : " Art is essentially a form of language ...
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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