Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 28
Stran 18
... distinguishes between the aesthetics of paint- ing and literature , Fry tries to explain all the arts by means of the principle of significant form . And this is no easy matter , Fry recog- nizes : I cannot deny that the position I am ...
... distinguishes between the aesthetics of paint- ing and literature , Fry tries to explain all the arts by means of the principle of significant form . And this is no easy matter , Fry recog- nizes : I cannot deny that the position I am ...
Stran 26
... distinguishes between two basic kinds of linguistic functioning , the language of emotions and the lan- guage of factual assertions . He places art completely in the category of emotional language.14 Like Bell , Fry , and Parker ...
... distinguishes between two basic kinds of linguistic functioning , the language of emotions and the lan- guage of factual assertions . He places art completely in the category of emotional language.14 Like Bell , Fry , and Parker ...
Stran 43
Morris Weitz. Fry also distinguishes between , and even , in his third period , separates , form and content . Content includes those elements in the work of art that represent people or events and the associations attached to them , as ...
Morris Weitz. Fry also distinguishes between , and even , in his third period , separates , form and content . Content includes those elements in the work of art that represent people or events and the associations attached to them , as ...
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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