Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Morris Weitz. CONTENTS 1 AESTHETIC FORMALISM Introduction Bell's theory of the art object Bell's theory of art appreciation Bell's theory of art creation Bell's special theory of literature Fry's psychological views as the basis of his ...
Morris Weitz. CONTENTS 1 AESTHETIC FORMALISM Introduction Bell's theory of the art object Bell's theory of art appreciation Bell's theory of art creation Bell's special theory of literature Fry's psychological views as the basis of his ...
Stran 61
Morris Weitz. The Organic Theory and the Requisites of Aesthetic Theory In our general critique of Bell and Fry we suggested that any ade- quate theory of art ... THEORY 61 The organic theory and the requisites of aesthetic theory 4.
Morris Weitz. The Organic Theory and the Requisites of Aesthetic Theory In our general critique of Bell and Fry we suggested that any ade- quate theory of art ... THEORY 61 The organic theory and the requisites of aesthetic theory 4.
Stran 188
... theory of appreciation . Let the best theory of ap- preciation be that which enables us best to attend to all the con- stituents of all works of art . We can then evaluate each specific theory in terms of this fundamental postulate or ...
... theory of appreciation . Let the best theory of ap- preciation be that which enables us best to attend to all the con- stituents of all works of art . We can then evaluate each specific theory in terms of this fundamental postulate or ...
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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