Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 44
Stran 116
... basic thesis of Hanslick and the soundest compromise between the autonomous and heteronomous positions in musical aesthetics . Considered independently of its historical development , we may say that the whole problem of autonomy versus ...
... basic thesis of Hanslick and the soundest compromise between the autonomous and heteronomous positions in musical aesthetics . Considered independently of its historical development , we may say that the whole problem of autonomy versus ...
Stran 125
... basic materials , irrespective of the subject elements . This is the basic conviction not only of Moore but also of Brancusi , Archipenko , Zadkine , Lachaise , and Lehmbruck , all of whom are among the creative forces of modern ...
... basic materials , irrespective of the subject elements . This is the basic conviction not only of Moore but also of Brancusi , Archipenko , Zadkine , Lachaise , and Lehmbruck , all of whom are among the creative forces of modern ...
Stran 194
... basic difficulty with Ducasse's position seems to be his identification of critical standards with preferences and tastes . It would be absurd , he claims , to say that a work of art is good even though one does not like it or really ...
... basic difficulty with Ducasse's position seems to be his identification of critical standards with preferences and tastes . It would be absurd , he claims , to say that a work of art is good even though one does not like it or really ...
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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