Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 29
Stran 36
... present in the “ how - what " variety of the form - content distinction . Consider the message , " Come home ! " We may write it , wire it , telephone it , yell it , or gesture it . Here the content remains the same throughout the ...
... present in the “ how - what " variety of the form - content distinction . Consider the message , " Come home ! " We may write it , wire it , telephone it , yell it , or gesture it . Here the content remains the same throughout the ...
Stran 40
... present aesthetic theory Ducasse , although he is diversified and even ambiguous in his usage , is the champion of this interpre- tation of the distinction . " By form is meant simply arrangement or order ; and by content . . . whatever ...
... present aesthetic theory Ducasse , although he is diversified and even ambiguous in his usage , is the champion of this interpre- tation of the distinction . " By form is meant simply arrangement or order ; and by content . . . whatever ...
Stran 145
... present nevertheless , that one cannot erase the mem- ory of true love ; this constituent functions as a truth claim about the content of human experience . One could with no difficulty at all list hundreds of examples of poetic ...
... present nevertheless , that one cannot erase the mem- ory of true love ; this constituent functions as a truth claim about the content of human experience . One could with no difficulty at all list hundreds of examples of poetic ...
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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