Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 25
Stran 26
... namely , the aesthetic emotion . Here , too , Parker's criticism is misdirected , resting upon a conception of form that is so very different from that of Bell and Fry . Parker's second criticism leads to his third and the final one ...
... namely , the aesthetic emotion . Here , too , Parker's criticism is misdirected , resting upon a conception of form that is so very different from that of Bell and Fry . Parker's second criticism leads to his third and the final one ...
Stran 42
... namely , the so - called representational ones . These Bell calls the content of the art object . There is at least one linguistic difficulty with this conception of the distinction between form and content . Consider once more ...
... namely , the so - called representational ones . These Bell calls the content of the art object . There is at least one linguistic difficulty with this conception of the distinction between form and content . Consider once more ...
Stran 120
... namely , to narrate or denote specific things . This total principle allows of generalization for all the arts . Each art , it is contended , has a specific function , which gives it its uniqueness ; and this function is determined by ...
... namely , to narrate or denote specific things . This total principle allows of generalization for all the arts . Each art , it is contended , has a specific function , which gives it its uniqueness ; and this function is determined by ...
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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