Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 77
Stran 79
... meaning and certain others as being nonrepresentational and without meaning . All the elements of painting are meaningful or representational in a strict semantical sense ; they are either icons , indices or symbols . There are many ...
... meaning and certain others as being nonrepresentational and without meaning . All the elements of painting are meaningful or representational in a strict semantical sense ; they are either icons , indices or symbols . There are many ...
Stran 110
... meaning of meaning . Musical aes- theticians who have argued that music does not mean anything have done so primarily because they have seen in music no simi- larity to ordinary languages like French or German or English . Their ...
... meaning of meaning . Musical aes- theticians who have argued that music does not mean anything have done so primarily because they have seen in music no simi- larity to ordinary languages like French or German or English . Their ...
Stran 137
... meaning . " Many poems and some works of plastic art possess what I like to call " depth meanings " - meanings of universal scope un- derneath relatively concrete meanings or ideas . Thus in the fol- lowing line of one of Frost's little ...
... meaning . " Many poems and some works of plastic art possess what I like to call " depth meanings " - meanings of universal scope un- derneath relatively concrete meanings or ideas . Thus in the fol- lowing line of one of Frost's little ...
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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