Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 170
... satisfies all sorts of desires , sexual and nonsexual , conscious and unconscious ; and these desires are satisfied ... satisfying desires , the imaginative and the real . There is but one way , Ducasse insists - getting what you want ...
... satisfies all sorts of desires , sexual and nonsexual , conscious and unconscious ; and these desires are satisfied ... satisfying desires , the imaginative and the real . There is but one way , Ducasse insists - getting what you want ...
Stran 171
... satisfying the same desire . Consider our desire for fame . Both Freud and Parker claim that if one cannot obtain satisfaction of this desire in the usual manner of winning public approval , then one can satisfy that same desire through ...
... satisfying the same desire . Consider our desire for fame . Both Freud and Parker claim that if one cannot obtain satisfaction of this desire in the usual manner of winning public approval , then one can satisfy that same desire through ...
Stran 172
... satisfy desires we cannot satisfy in other ways , but that we satisfy desires , for example , the desire for imaginative experiences , in real ways . The aesthetic experience , in other words , is not a form of sublimation . It is as ...
... satisfy desires we cannot satisfy in other ways , but that we satisfy desires , for example , the desire for imaginative experiences , in real ways . The aesthetic experience , in other words , is not a form of sublimation . It is as ...
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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