Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 58
Stran 35
... sense language and in technical logical analysis . Common sense , to begin with , regards form as a synonym of shape , and content as synonymous with matter in much of its talk . We say , for example , that two pennies , one copper ...
... sense language and in technical logical analysis . Common sense , to begin with , regards form as a synonym of shape , and content as synonymous with matter in much of its talk . We say , for example , that two pennies , one copper ...
Stran 59
... sense that it is a sign of many things , all of which are associated with emotional experiences by human beings . To some , the chordal progression means massiveness and its attendant quality of power ; to others , Napoleon , or ...
... sense that it is a sign of many things , all of which are associated with emotional experiences by human beings . To some , the chordal progression means massiveness and its attendant quality of power ; to others , Napoleon , or ...
Stran 142
... sense of implication . Part of what is meant by implication in the sense in which we are using it has been formulated best by G. E. Moore when he writes , for example , " There seems to me to be nothing mysterious about this sense of ...
... sense of implication . Part of what is meant by implication in the sense in which we are using it has been formulated best by G. E. Moore when he writes , for example , " There seems to me to be nothing mysterious about this sense of ...
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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