Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 155
... actual events . But we do not make believe about them either . Rather we " suspend our disbelief " ( Coleridge ) . That is to say , we regard it as irrelevant to our appreciation that these things were or are actual . Our usual attitude ...
... actual events . But we do not make believe about them either . Rather we " suspend our disbelief " ( Coleridge ) . That is to say , we regard it as irrelevant to our appreciation that these things were or are actual . Our usual attitude ...
Stran 173
... actual transmission of feelings from the artist to the spectator , the aesthetic experience is aborted . Artistic com- munication means actual emotional participation on the part of the spectator . To appreciate art is to partake of the ...
... actual transmission of feelings from the artist to the spectator , the aesthetic experience is aborted . Artistic com- munication means actual emotional participation on the part of the spectator . To appreciate art is to partake of the ...
Stran 174
... actual indulgence in what is communicated , there is no communi- cation . This doctrine is false ; and to see that it is , let us examine first ordinary , nonartistic communication . A speaker is said to com- municate to a listener if ...
... actual indulgence in what is communicated , there is no communi- cation . This doctrine is false ; and to see that it is , let us examine first ordinary , nonartistic communication . A speaker is said to com- municate to a listener if ...
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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