Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 54
Stran 2
... Art Object Both Bell and Fry regard the concrete work of art as the essential object of aesthetic analysis . And yet they begin their inquiries with what they consider to be a fact about their appreciation of art . " The starting ...
... Art Object Both Bell and Fry regard the concrete work of art as the essential object of aesthetic analysis . And yet they begin their inquiries with what they consider to be a fact about their appreciation of art . " The starting ...
Stran 45
... object " of the work . Some examples will make clear our terminology . Consider , to begin with , Cézanne's " Mont Sainte - Victoire . " The subject is the lines and colors that constitute certain volumes within the art object which ...
... object " of the work . Some examples will make clear our terminology . Consider , to begin with , Cézanne's " Mont Sainte - Victoire . " The subject is the lines and colors that constitute certain volumes within the art object which ...
Stran 188
... art object and is achieved through an analysis of the nature of the art object . They conceive the art object as sig- nificant form ; to appreciate art we must respond to this significant form . To do otherwise or more is to misuse the art ...
... art object and is achieved through an analysis of the nature of the art object . They conceive the art object as sig- nificant form ; to appreciate art we must respond to this significant form . To do otherwise or more is to misuse the art ...
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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