Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 56
Stran 28
... fact depict events but that he is convinced that the discipline of narration belongs intrinsically to literature , since literature can serve narration best ; and , further , that painting which offers more than a rendition of ...
... fact depict events but that he is convinced that the discipline of narration belongs intrinsically to literature , since literature can serve narration best ; and , further , that painting which offers more than a rendition of ...
Stran 181
... fact , that our appreciation of art depends in part upon our participation in the emotions presented , which fact seems to conflict with that of psychic distance . This " antinomy , " as Bullough calls it , can be resolved by means of a ...
... fact , that our appreciation of art depends in part upon our participation in the emotions presented , which fact seems to conflict with that of psychic distance . This " antinomy , " as Bullough calls it , can be resolved by means of a ...
Stran 197
... fact that Rouault's " Christ Mocked by Soldiers " embodies the expressive quality of the conflict between force and humility enters into the total fact of its greatness as a work of art . On the other hand , the fact that Matisse's work ...
... fact that Rouault's " Christ Mocked by Soldiers " embodies the expressive quality of the conflict between force and humility enters into the total fact of its greatness as a work of art . On the other hand , the fact that Matisse's work ...
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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