Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 21
Stran 34
... Finally , even in plastic terms , painting is more than combinations of line and color or spatial composition . As Fry himself recognized in “ An Essay in Aesthetics , " plastic form also includes light , space , shade , rhythm , and ...
... Finally , even in plastic terms , painting is more than combinations of line and color or spatial composition . As Fry himself recognized in “ An Essay in Aesthetics , " plastic form also includes light , space , shade , rhythm , and ...
Stran 110
... finally , of the bassoon as being a little rough in its expressive appeal . Finally , rhythm also possesses certain expressive qualities , which are specified by the names we apply to the different rhythmic oc- currences in music as ...
... finally , of the bassoon as being a little rough in its expressive appeal . Finally , rhythm also possesses certain expressive qualities , which are specified by the names we apply to the different rhythmic oc- currences in music as ...
Stran 138
... finally leaves and Bigger removes the pillow , only to discover that Mary has suffocated . Desperate , Bigger decides to burn his victim rather than try to explain what happened . The rest of the story concerns the discovery of Bigger's ...
... finally leaves and Bigger removes the pillow , only to discover that Mary has suffocated . Desperate , Bigger decides to burn his victim rather than try to explain what happened . The rest of the story concerns the discovery of Bigger's ...
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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