Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 71
Stran 49
... character , but it is not our intention either to stipulate usage or commit linguistic abuse . Rather , we are offering a new way of talking about art which will not give rise to unnecessary aesthetic disputes and will be more consonant ...
... character , but it is not our intention either to stipulate usage or commit linguistic abuse . Rather , we are offering a new way of talking about art which will not give rise to unnecessary aesthetic disputes and will be more consonant ...
Stran 95
... character . A vacuous , noncon- vivial and dank atmosphere and locale are created . The simile itself refers to the semiconscious , half - dead , half - alive , limbo quality of Prufrock's character and environment . It is an image ...
... character . A vacuous , noncon- vivial and dank atmosphere and locale are created . The simile itself refers to the semiconscious , half - dead , half - alive , limbo quality of Prufrock's character and environment . It is an image ...
Stran 109
... character , to comprehend the expressive dimension of melody . The restlessness of the dissonant as against the relative stability of the consonant ; the hollow , flat character of a fifth or the rich , lively character of a major third ...
... character , to comprehend the expressive dimension of melody . The restlessness of the dissonant as against the relative stability of the consonant ; the hollow , flat character of a fifth or the rich , lively character of a major third ...
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Pogosti izrazi in povedi
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