Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 43
Stran 26
... emotion . Therefore , this issue re- solves into the first : Ought art to be concerned with all emotions or only the emotion that is engendered by our apprehension of significant form ? To sum up , then . The real issue between Parker ...
... emotion . Therefore , this issue re- solves into the first : Ought art to be concerned with all emotions or only the emotion that is engendered by our apprehension of significant form ? To sum up , then . The real issue between Parker ...
Stran 174
... emotions communi- cated without indulging in them just as one can understand the nonartistic thoughts and ideas communicated without believing them . The view that artistic communication entails participation in the emotions ...
... emotions communi- cated without indulging in them just as one can understand the nonartistic thoughts and ideas communicated without believing them . The view that artistic communication entails participation in the emotions ...
Stran 182
... emotions presented , because to indulge at all would demand our seeing the complexity from one or at most a few points of view , provided the emotions were not contradictory . To appreciate any really emotionally complex work of art ...
... emotions presented , because to indulge at all would demand our seeing the complexity from one or at most a few points of view , provided the emotions were not contradictory . To appreciate any really emotionally complex work of art ...
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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