Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 30
Stran 12
... rejection of the Freudian theory of artistic creation : I believe that two distinct aims and activities have got classed together under the word art , and that the word artist is used of two ... rejected this theory 12 PHILOSOPHY OF THE ARTS.
... rejection of the Freudian theory of artistic creation : I believe that two distinct aims and activities have got classed together under the word art , and that the word artist is used of two ... rejected this theory 12 PHILOSOPHY OF THE ARTS.
Stran 13
... rejected in the way that representation was characterized as illegitimate on the second view.30 Artistic creation is also charac- terized as a function of vision , of seeing the world as significant form , as a relational , structural ...
... rejected in the way that representation was characterized as illegitimate on the second view.30 Artistic creation is also charac- terized as a function of vision , of seeing the world as significant form , as a relational , structural ...
Stran 131
... Rejection of Purism This concludes our brief survey of the role of the medium in modern art . Our initial purpose ... reject narration and psychological representation in painting because they identify these with literature , and conse ...
... Rejection of Purism This concludes our brief survey of the role of the medium in modern art . Our initial purpose ... reject narration and psychological representation in painting because they identify these with literature , and conse ...
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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