Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 26
Stran 155
... attitude , that is , our usual cognitive response to " Prufrock , " I suppose , is something like this . We distinguish between the characters , events , and themes . We do not believe that the character , Prufrock , is real or was real ...
... attitude , that is , our usual cognitive response to " Prufrock , " I suppose , is something like this . We distinguish between the characters , events , and themes . We do not believe that the character , Prufrock , is real or was real ...
Stran 159
... attitudes . Poetry , to sum up Brooks's position , does not state ideas but tests them : " A poem . ... is to be ... attitude to be toward the truth claims of poetry ? This objection applies to Richards , too . It is not what a poem ...
... attitudes . Poetry , to sum up Brooks's position , does not state ideas but tests them : " A poem . ... is to be ... attitude to be toward the truth claims of poetry ? This objection applies to Richards , too . It is not what a poem ...
Stran 164
... attitude , in sum , is akin to Eliot's " mastering of other men's systems . " Finally , there is the cognitive attitude of belief . This also has a naïve and a mature version . The naïve reader who supports the attitude of belief — for ...
... attitude , in sum , is akin to Eliot's " mastering of other men's systems . " Finally , there is the cognitive attitude of belief . This also has a naïve and a mature version . The naïve reader who supports the attitude of belief — for ...
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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