Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 136
... embody truth claims ? Among contemporary aestheticians who have been engaging in debate on this issue , T. M. Greene has offered the most extensive defense of the doctrine that art does embody truth claims , and he maintains that all of ...
... embody truth claims ? Among contemporary aestheticians who have been engaging in debate on this issue , T. M. Greene has offered the most extensive defense of the doctrine that art does embody truth claims , and he maintains that all of ...
Stran 144
... embody these claims , and within the surface - printed sentences . In no way does it follow from the presence of ... embody truth claims ? ( 2 ) ought any art to embody truth claims ? ( 3 ) does the presence of truth claims make a ...
... embody these claims , and within the surface - printed sentences . In no way does it follow from the presence of ... embody truth claims ? ( 2 ) ought any art to embody truth claims ? ( 3 ) does the presence of truth claims make a ...
Stran 145
... embody truth claims within the printed sentences ; this is the first category . It can also embody truth claims as depth meanings . The truth claim of " Prufrock , " namely , that there are two kinds of life and two kinds of death , is ...
... embody truth claims within the printed sentences ; this is the first category . It can also embody truth claims as depth meanings . The truth claim of " Prufrock , " namely , that there are two kinds of life and two kinds of death , is ...
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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