Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 135
... feelings of approval toward it , perhaps even in the hope of evoking similar feelings in my listeners . This distinction between the emotive and the symbolic ( refer- ential ) uses of language Richards regards as basic to the ...
... feelings of approval toward it , perhaps even in the hope of evoking similar feelings in my listeners . This distinction between the emotive and the symbolic ( refer- ential ) uses of language Richards regards as basic to the ...
Stran 136
... feelings , emotions and attitudes . Carnap has supplemented this view , which is essentially positivistic , by affirming the kinship of artistic ( also metaphysical and ethical ) language and certain body gestures . I laugh , I cry , I ...
... feelings , emotions and attitudes . Carnap has supplemented this view , which is essentially positivistic , by affirming the kinship of artistic ( also metaphysical and ethical ) language and certain body gestures . I laugh , I cry , I ...
Stran 173
Morris Weitz. feelings he has lived through , and that others are infected by these feelings and also experience them.15 Without the actual transmission of feelings from the artist to the spectator , the aesthetic experience is aborted ...
Morris Weitz. feelings he has lived through , and that others are infected by these feelings and also experience them.15 Without the actual transmission of feelings from the artist to the spectator , the aesthetic experience is aborted ...
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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