Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Stran 77
... plastic form . Balance , proportion , measure , in this context , are its synonyms . But again , for purposes of clarity , it would be bet- ter to limit the term to something more specific in painting . Barnes has suggested , with a ...
... plastic form . Balance , proportion , measure , in this context , are its synonyms . But again , for purposes of clarity , it would be bet- ter to limit the term to something more specific in painting . Barnes has suggested , with a ...
Stran 79
... plastic animation . If our analysis of the semantics of the expressive has been cor- rect , it follows that we cannot designate certain elements as being representational or possessing meaning and certain others as being ...
... plastic animation . If our analysis of the semantics of the expressive has been cor- rect , it follows that we cannot designate certain elements as being representational or possessing meaning and certain others as being ...
Stran 83
Morris Weitz. based upon two ideas , one plastic and the other perceptual , al- though the two are finally merged . The plastic idea is that all natural or imaginary objects can be broken up into planes which may then be reorganized into ...
Morris Weitz. based upon two ideas , one plastic and the other perceptual , al- though the two are finally merged . The plastic idea is that all natural or imaginary objects can be broken up into planes which may then be reorganized into ...
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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