Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 19
Stran 122
... better with another . For example , the purist holds that the artist who is striving for luminosity ought not to ... better than any other art . This is its uniqueness which is derived from its essence as an art of painting . Although it ...
... better with another . For example , the purist holds that the artist who is striving for luminosity ought not to ... better than any other art . This is its uniqueness which is derived from its essence as an art of painting . Although it ...
Stran 193
... better than , say , Beethoven's Fourth Sym- phony . The phrase " better than " is interpreted as having reference to certain standards ; and this is as it should be . But these standards are further conceived as expressions of ...
... better than , say , Beethoven's Fourth Sym- phony . The phrase " better than " is interpreted as having reference to certain standards ; and this is as it should be . But these standards are further conceived as expressions of ...
Stran 199
... better than Picasso , or vice versa , in the sense that we wish to know if the one is better than the other because of the nature of the expressive in each , is , therefore , to ask an immature question . Like Plato's little children ...
... better than Picasso , or vice versa , in the sense that we wish to know if the one is better than the other because of the nature of the expressive in each , is , therefore , to ask an immature question . Like Plato's little children ...
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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