Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 123
Morris Weitz. - materials organized in accordance with some plan or purpose . Materials are sources of expressiveness . Ferroconcrete , steel , wood , brick , stone , and glass have their own physical and expressive potentialities ...
Morris Weitz. - materials organized in accordance with some plan or purpose . Materials are sources of expressiveness . Ferroconcrete , steel , wood , brick , stone , and glass have their own physical and expressive potentialities ...
Stran 124
Morris Weitz. essentially in conflict with the raw materials of nature and who extol the transformations of these raw materials into highly con- trived , artificial environments , wish to make of man an ordered being and , consequently ...
Morris Weitz. essentially in conflict with the raw materials of nature and who extol the transformations of these raw materials into highly con- trived , artificial environments , wish to make of man an ordered being and , consequently ...
Stran 125
... materials and their attendant expressive effects . Literary values and psycho- logical pose , so important in realistic and romantic sculpture , and even in the work of Rodin and Maillol , two early moderns , are completely rejected ...
... materials and their attendant expressive effects . Literary values and psycho- logical pose , so important in realistic and romantic sculpture , and even in the work of Rodin and Maillol , two early moderns , are completely rejected ...
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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