Philosophy of the ArtsHarvard University Press, 1964 - 239 strani |
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Zadetki 1–3 od 23
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 . 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 most extreme ...
... sounds - " arabesques of sounds , " as they are sometimes called . 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 most extreme ...
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 accept aesthetic experience aesthetic theory aestheticians analysis appreciation of art art object artistic activity assertions attitude basic believe Bell and Fry Bertrand Russell Cézanne chap character Cleanth Brooks communication complex constituents contemplation contemporary criticism Cubism depth meanings Desdemona desire doctrine drama Ducasse Ducasse's Eliot embody truth claims Emilia emotions Erwin Panofsky evaluation example expressive qualities fact Fascism feelings formalism Freud function G. E. Moore Hanslick heteronomous human experience I. A. Richards Ibid iconic imaginative indulgence interpret italics in original John Hospers kind language line and color literature make-believe medium modern motion picture nature novel organic theory painting Parker Philosophy poem poetry problem Prufrock psychic distance psychological pure purism question referential rejected relation representation Richards satisfaction semantical sense sexual significant form soirée specific spectator symbolic art T. S. Eliot theme theory of appreciation thing tion transparent symbol truth claims values whole