Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 17
Stran 2
... refer to prevalent aesthetic views , like voluntarism , intellectualism , emotionalism , formalism , or hedonism , are treacherous and to be employed with extreme care , since some of these terms refer to theories concern- ing the art ...
... refer to prevalent aesthetic views , like voluntarism , intellectualism , emotionalism , formalism , or hedonism , are treacherous and to be employed with extreme care , since some of these terms refer to theories concern- ing the art ...
Stran 30
... refer to as plastic structure . Space , light , color , line , mass , etc. , are universals , and Bell and Fry , as formalists , certainly insist as strongly as any aes- thetician upon the artistic importance of them . What Bell and Fry ...
... refer to as plastic structure . Space , light , color , line , mass , etc. , are universals , and Bell and Fry , as formalists , certainly insist as strongly as any aes- thetician upon the artistic importance of them . What Bell and Fry ...
Stran 50
... refer to the same thing : the linguistic and imaginative elements of art in organic relation to each other . Barnes , in The Art in Painting , distinguishes between two in- separable aspects of painting , plastic form and subject matter ...
... refer to the same thing : the linguistic and imaginative elements of art in organic relation to each other . Barnes , in The Art in Painting , distinguishes between two in- separable aspects of painting , plastic form and subject matter ...
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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