Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 42
Stran
... tion of the nature of art ; and I shall have much to say about that in this essay . The nature of art is our main problem . Around it we shall deal with such related questions as those of the meaning of form and content , representation ...
... tion of the nature of art ; and I shall have much to say about that in this essay . The nature of art is our main problem . Around it we shall deal with such related questions as those of the meaning of form and content , representation ...
Stran 15
... tion as that which is inclusive of everything . The content is such that only a Christian or student of Christianity could understand it . The form of the picture Fry designates as the compositional structure ; specifically , the ...
... tion as that which is inclusive of everything . The content is such that only a Christian or student of Christianity could understand it . The form of the picture Fry designates as the compositional structure ; specifically , the ...
Stran 29
... tion between the form and the content in the work of art , which we have seen to characterize all the aesthetic theories that we have discussed thus far . For Maritain , every art object is the sensuous embodiment of a universal or a ...
... tion between the form and the content in the work of art , which we have seen to characterize all the aesthetic theories that we have discussed thus far . For Maritain , every art object is the sensuous embodiment of a universal or 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