Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 45
Stran 24
... Bell and Fry , then , is that it has singled out one element , the form , as the es- sence of art , to the total neglect of the imaginative and linguistic elements , the content . To this criticism we may reply that , in the first place , ...
... Bell and Fry , then , is that it has singled out one element , the form , as the es- sence of art , to the total neglect of the imaginative and linguistic elements , the content . To this criticism we may reply that , in the first place , ...
Stran 25
... Bell and Fry : Ought art to contain these nonplastic spiritual values ? Bell and Fry , for reasons which we have already set forth , assert that art ought only to exhibit our vision of reality as significant form ; that pure art ought ...
... Bell and Fry : Ought art to contain these nonplastic spiritual values ? Bell and Fry , for reasons which we have already set forth , assert that art ought only to exhibit our vision of reality as significant form ; that pure art ought ...
Stran 26
... Bell and Fry affirm as strongly as Parker that art communi- cates emotion , and that this communication evokes a similar emo- tion in the spectator . What Bell and Fry do deny is that art ought to communicate and evoke any emotion ...
... Bell and Fry affirm as strongly as Parker that art communi- cates emotion , and that this communication evokes a similar emo- tion in the spectator . What Bell and Fry do deny is that art ought to communicate and evoke any emotion ...
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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