Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
Iz vsebine knjige
Zadetki 1–3 od 11
Stran 165
... satisfaction of our desires . The two outstanding representatives of this view are Freud and Parker . Freud , whose ... satisfaction of sexual desires that the artist cannot satisfy or realize in normal ways . The art object is the ...
... satisfaction of our desires . The two outstanding representatives of this view are Freud and Parker . Freud , whose ... satisfaction of sexual desires that the artist cannot satisfy or realize in normal ways . The art object is the ...
Stran 170
... satisfaction of a desire , that is , making believe that a desire is satisfied . Making believe that a desire is satisfied is no satisfaction , Ducasse asserts ; and , consequently , Parker's theory , which depends on the experience of ...
... satisfaction of a desire , that is , making believe that a desire is satisfied . Making believe that a desire is satisfied is no satisfaction , Ducasse asserts ; and , consequently , Parker's theory , which depends on the experience of ...
Stran 171
... satisfaction from making believe that some desire or other is being satisfied . The real quarrel with Parker , at least so far as I am concerned , is not on this issue but rather has to do with his doctrine that the imaginative satisfaction ...
... satisfaction from making believe that some desire or other is being satisfied . The real quarrel with Parker , at least so far as I am concerned , is not on this issue but rather has to do with his doctrine that the imaginative satisfaction ...
Druge izdaje - Prikaži vse
Pogosti izrazi in povedi
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