Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 103
... sounds . There is much that can be said about the aesthetics of word sounds . Aestheticians have recognized that these word sounds can have specific meanings . But it happens that many words are ambiguous , that is , have a number of ...
... sounds . There is much that can be said about the aesthetics of word sounds . Aestheticians have recognized that these word sounds can have specific meanings . But it happens that many words are ambiguous , that is , have a number of ...
Stran 112
... sounds — “ arabesques of sounds , " as they are sometimes called . Han -- the The heteronomous view is that music is a language of some sort and does mean something to hearers of it . There are many varieties within this group . The ...
... sounds — “ arabesques of sounds , " as they are sometimes called . Han -- the The heteronomous view is that music is a language of some sort and does mean something to hearers of it . There are many varieties within this group . The ...
Stran 113
... sounds mean no one definite thing , they can mean anything , defi- nite or indefinite , specific or generic . But in one sense , to say that x means nothing , therefore everything , is self - contradictory and absurd . However , what ...
... sounds mean no one definite thing , they can mean anything , defi- nite or indefinite , specific or generic . But in one sense , to say that x means nothing , therefore everything , is self - contradictory and absurd . However , what ...
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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