Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 22
Stran 104
... essentially lifeless and insignificant character of the soirée women . Certain contrasts are developed in the poem which are also organically contributing elements . The tedious argument as against the overwhelming question ; the dare ...
... essentially lifeless and insignificant character of the soirée women . Certain contrasts are developed in the poem which are also organically contributing elements . The tedious argument as against the overwhelming question ; the dare ...
Stran 122
... essentially a medium in which certain plastic qualities can be exhibited . It can explore the expressive potentials of color , line , space , volume tension , and the like . Further , it can do this better than any other art . This is ...
... essentially a medium in which certain plastic qualities can be exhibited . It can explore the expressive potentials of color , line , space , volume tension , and the like . Further , it can do this better than any other art . This is ...
Stran 126
... essentially montage , that is , the simultaneous presenta- tion of different areas of action.5 But this seems too narrow a view and cannot even explain his own recent productions , Alex- ander Nevsky and Ivan the Terrible . E. Panofsky ...
... essentially montage , that is , the simultaneous presenta- tion of different areas of action.5 But this seems too narrow a view and cannot even explain his own recent productions , Alex- ander Nevsky and Ivan the Terrible . E. Panofsky ...
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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