Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 26
Stran 19
... present in the experiences . Ordi- nary responses are to objects , sensations , or events , whereas the aesthetic is a response to relations , the sum of which constitutes significant form . There is no special aesthetic faculty or ...
... present in the experiences . Ordi- nary responses are to objects , sensations , or events , whereas the aesthetic is a response to relations , the sum of which constitutes significant form . There is no special aesthetic faculty or ...
Stran 31
... present the Marxist criticism of formalism . Its fundamental objection is simply that aestheticians like Bell and Fry find no place for content - ideological values — in art . No work of art , the Marxists say , can be understood or ...
... present the Marxist criticism of formalism . Its fundamental objection is simply that aestheticians like Bell and Fry find no place for content - ideological values — in art . No work of art , the Marxists say , can be understood or ...
Stran 40
... present aesthetic theory Ducasse , although he is diversified and even ambiguous in his usage , is the champion of this interpre- tation of the distinction . " By form is meant simply arrangement or order ; and by content . whatever it ...
... present aesthetic theory Ducasse , although he is diversified and even ambiguous in his usage , is the champion of this interpre- tation of the distinction . " By form is meant simply arrangement or order ; and by content . whatever it ...
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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