Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 11
Stran 5
... indulgence in the significant form of the work of art . This indulgence is of a special sort and is characterized by certain rare qualities . First , it involves the transcendence of our ordinary activities and the en- trance into a ...
... indulgence in the significant form of the work of art . This indulgence is of a special sort and is characterized by certain rare qualities . First , it involves the transcendence of our ordinary activities and the en- trance into a ...
Stran 181
... indulgence in and our detachment from the emotions in the work of art : indulgence in the emotions of the work of art is legitimate and ought to be engaged in up to the point that psychic distance tends to disappear . Consider this fact ...
... indulgence in and our detachment from the emotions in the work of art : indulgence in the emotions of the work of art is legitimate and ought to be engaged in up to the point that psychic distance tends to disappear . Consider this fact ...
Stran 190
... indulgence in one or other of the actual emotions being portrayed in the play . Many spectators , who are not aware of it , I think , have had this combined contemplative - emotive experience . The spiritual uplift of witnessing a great ...
... indulgence in one or other of the actual emotions being portrayed in the play . Many spectators , who are not aware of it , I think , have had this combined contemplative - emotive experience . The spiritual uplift of witnessing a great ...
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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