Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 20
Stran 97
... false , the alive and the dead . Eliot re- jects this dualism and asserts rather an immanence theory in which the real or true is already present in the false , and the significant already part of the insignificant , waiting to be ...
... false , the alive and the dead . Eliot re- jects this dualism and asserts rather an immanence theory in which the real or true is already present in the false , and the significant already part of the insignificant , waiting to be ...
Stran 143
... false.11 This is an improvement upon the positivist theory of art , I think ; but it , too , is incorrect , since not all the truth claims or refer- ential statements of literature are false . There is more reason to believe that some ...
... false.11 This is an improvement upon the positivist theory of art , I think ; but it , too , is incorrect , since not all the truth claims or refer- ential statements of literature are false . There is more reason to believe that some ...
Stran 149
... false , just as one cannot say that the usual method of speaking , which is after all an act , too , is true or false . It is only one aspect of the act , namely , the asserted proposition , spoken or gestured as the case may be , that ...
... false , just as one cannot say that the usual method of speaking , which is after all an act , too , is true or false . It is only one aspect of the act , namely , the asserted proposition , spoken or gestured as the case may be , that ...
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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