Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 30
Stran 45
... represent , mean , the actual mountain . Semantically , the subject is an iconic sign of its object , for it is like that which it means . It is to the mountain what a photograph is to the person it represents . The object in this case ...
... represent , mean , the actual mountain . Semantically , the subject is an iconic sign of its object , for it is like that which it means . It is to the mountain what a photograph is to the person it represents . The object in this case ...
Stran 83
... represent the simultaneity of different perceptions of the same person . His " Guitar and Violin " and " Three Musicians " exemplify primarily the plastic side of Cubism . In the first , the ... represents a light THE ARTS : PAINTING 83.
... represent the simultaneity of different perceptions of the same person . His " Guitar and Violin " and " Three Musicians " exemplify primarily the plastic side of Cubism . In the first , the ... represents a light THE ARTS : PAINTING 83.
Stran 88
Morris Weitz. " Adoration of the Magi , " which represents the birth scene of Jesus , there is also represented , in the form of a traditional crucifix , located in the upper center of the picture , the death of Christ . This is indeed a ...
Morris Weitz. " Adoration of the Magi , " which represents the birth scene of Jesus , there is also represented , in the form of a traditional crucifix , located in the upper center of the picture , the death of Christ . This is indeed a ...
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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