Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 22
Stran 39
... includes not only the specific individuals repre- sented , but also all the emotions associated with them . Further ... include dramatic entities like people as well as colors , lines , or shapes , tones , etc. , in the case of the arts ...
... includes not only the specific individuals repre- sented , but also all the emotions associated with them . Further ... include dramatic entities like people as well as colors , lines , or shapes , tones , etc. , in the case of the arts ...
Stran 43
... includes those elements in the work of art that represent people or events and the associations attached to them , as all of these relate to each other . In Raphael's “ Transfiguration , ” for example , Fry designates as the content all ...
... includes those elements in the work of art that represent people or events and the associations attached to them , as all of these relate to each other . In Raphael's “ Transfiguration , ” for example , Fry designates as the content all ...
Stran 149
... includes also a referential propositional assertion or truth claim about the world . Specifically , the act itself includes , as one of its constituents , the assertion or claim that there is a God Who is worthy of human respect ...
... includes also a referential propositional assertion or truth claim about the world . Specifically , the act itself includes , as one of its constituents , the assertion or claim that there is a God Who is worthy of human respect ...
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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