Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 31
Stran 10
... Psychological Views as the Basis of His Aesthetics The aesthetic theory of Fry has much in common with that of Bell , but it is developed with greater detail and awareness of the difficulties posed by aesthetic formalism . Fry's ...
... Psychological Views as the Basis of His Aesthetics The aesthetic theory of Fry has much in common with that of Bell , but it is developed with greater detail and awareness of the difficulties posed by aesthetic formalism . Fry's ...
Stran 17
... psychological inability of the spectators to integrate the spatial character of the plastic formal elements with the spaceless character of the emotional psychological elements : Indeed I cannot see how one is to avoid this . How can we ...
... psychological inability of the spectators to integrate the spatial character of the plastic formal elements with the spaceless character of the emotional psychological elements : Indeed I cannot see how one is to avoid this . How can we ...
Stran 176
... psychological grounds . Its chief difficulty is its extreme rationalism . Hirn's basic psychological belief is that we assuage the pressures of the emo- tional life by displacing and objectifying them , that we 176 PHILOSOPHY OF THE ARTS.
... psychological grounds . Its chief difficulty is its extreme rationalism . Hirn's basic psychological belief is that we assuage the pressures of the emo- tional life by displacing and objectifying them , that we 176 PHILOSOPHY OF THE ARTS.
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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