Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 12
... creation , art objects , and art appreciation can be classified in one of these two ways . Fry has expressed clearly the difference between the imaginative and the instinctual , so far as the artist is concerned , in his rejection of ...
... creation , art objects , and art appreciation can be classified in one of these two ways . Fry has expressed clearly the difference between the imaginative and the instinctual , so far as the artist is concerned , in his rejection of ...
Stran 13
... creation is a more limited endeavor . In his second period , Fry regarded pure artistic creation to be the communication of man's instinctual biological life in so far as his experiences reduce to certain plastic elements , like line ...
... creation is a more limited endeavor . In his second period , Fry regarded pure artistic creation to be the communication of man's instinctual biological life in so far as his experiences reduce to certain plastic elements , like line ...
Stran 176
... creation and appreciation function as purgations of emotions which result in the attainment of serenity . Art becomes the reliever , the assuagement of the psychic life of man . Artistic creation begins in the intense emotional ...
... creation and appreciation function as purgations of emotions which result in the attainment of serenity . Art becomes the reliever , the assuagement of the psychic life of man . Artistic creation begins in the intense emotional ...
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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