Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
Iz vsebine knjige
Zadetki 1–3 od 21
Stran 93
... sort . In fact , few people read poetry of any sort any more . And this is not because of any general decline of interest in art as such , since more people than ever before listen to music and look at pictures . It is difficult to ...
... sort . In fact , few people read poetry of any sort any more . And this is not because of any general decline of interest in art as such , since more people than ever before listen to music and look at pictures . It is difficult to ...
Stran 164
... sort of argument and suffers from the same sort of inadequacies as his fellow disbe- lievers . The mature believer , on the other hand , is the reader who believes the basic thematic claim but refuses to allow his belief to enter into ...
... sort of argument and suffers from the same sort of inadequacies as his fellow disbe- lievers . The mature believer , on the other hand , is the reader who believes the basic thematic claim but refuses to allow his belief to enter into ...
Stran 173
... sort , his art becomes an instrument for civilizing us . The right sort of infectiousness for Tolstoy is the religious- humanitarian . Tolstoy recognizes two criteria for great art : the formal , which is infectiousness and by virtue of ...
... sort , his art becomes an instrument for civilizing us . The right sort of infectiousness for Tolstoy is the religious- humanitarian . Tolstoy recognizes two criteria for great art : the formal , which is infectiousness and by virtue of ...
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