Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 31
Stran 6
... spectator resembles the philosopher in that both " inhabit a world with an intense and peculiar significance of its own ; that significance is unrelated to the significance of life . In this world the emotions of life find no place . It ...
... spectator resembles the philosopher in that both " inhabit a world with an intense and peculiar significance of its own ; that significance is unrelated to the significance of life . In this world the emotions of life find no place . It ...
Stran 173
... spectator . To appreciate art is to partake of the emotions embodied in the art object by the artist . - Because of ... spectators.16 Tolstoy is thus the great antagonist of the Kantian aesthetics . Like the contemporary instrumentalists ...
... spectator . To appreciate art is to partake of the emotions embodied in the art object by the artist . - Because of ... spectators.16 Tolstoy is thus the great antagonist of the Kantian aesthetics . Like the contemporary instrumentalists ...
Stran 176
... spectator allows the work of art to infect him with the emotions embodied within it . But instead of indulging directly in these emotions , the spectator employs the infection as a means of getting rid of them . Like the artist , he ...
... spectator allows the work of art to infect him with the emotions embodied within it . But instead of indulging directly in these emotions , the spectator employs the infection as a means of getting rid of them . Like the artist , he ...
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Pogosti izrazi in povedi
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