Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 74
Morris Weitz. D element of picture space is that , unlike modern non - Euclidean and non - Newtonian , relational , physical space , picture space is a sub- stance that is to be filled in ; otherwise gaps result in the picture Secondly ...
Morris Weitz. D element of picture space is that , unlike modern non - Euclidean and non - Newtonian , relational , physical space , picture space is a sub- stance that is to be filled in ; otherwise gaps result in the picture Secondly ...
Stran 126
... Picture The motion picture , like the drama , is an ill - defined art today . But part of the explanation is the relatively shifting and experi- mental character of the motion picture as compared with the drama . The problem of the ...
... Picture The motion picture , like the drama , is an ill - defined art today . But part of the explanation is the relatively shifting and experi- mental character of the motion picture as compared with the drama . The problem of the ...
Stran 127
... picture : that it can show physical , fluid action of all sorts with a speed that no other art can achieve . Some practicing theorists of the motion picture , especially Maya Deren and Jean Cocteau , have suggested that its medium , its ...
... picture : that it can show physical , fluid action of all sorts with a speed that no other art can achieve . Some practicing theorists of the motion picture , especially Maya Deren and Jean Cocteau , have suggested that its medium , 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