Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 38
Stran 149
... true or false , just as one cannot say that the usual method of speaking , which is after all an act , too , is true or false . It is only one aspect of the act , namely , the asserted proposition , spoken or gestured as the case may be ...
... true or false , just as one cannot say that the usual method of speaking , which is after all an act , too , is true or false . It is only one aspect of the act , namely , the asserted proposition , spoken or gestured as the case may be ...
Stran 162
... true that science can say certain things about the world . It can tell us about the facts . It can give us knowledge . But litera- ture can also say certain things about the world , mainly the human world . It , too , can offer us ...
... true that science can say certain things about the world . It can tell us about the facts . It can give us knowledge . But litera- ture can also say certain things about the world , mainly the human world . It , too , can offer us ...
Stran 163
Morris Weitz. readers accept as true and not as if they were true . The make- believe theory has no explanation of the attitude of these readers nor do its advocates try in any way to justify their recommendation to these readers . We ...
Morris Weitz. readers accept as true and not as if they were true . The make- believe theory has no explanation of the attitude of these readers nor do its advocates try in any way to justify their recommendation to these readers . We ...
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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