Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 42
Stran 7
... true artist , who will visualize it rather as colors and lines in relation to each other . The artist is seeing reality , or rather a portion of it , as significant form ; and his vision possesses all the characteristics of the true ...
... true artist , who will visualize it rather as colors and lines in relation to each other . The artist is seeing reality , or rather a portion of it , as significant form ; and his vision possesses all the characteristics of the true ...
Stran 149
... true or false , just as one cannot say that the usual method of speaking , which is after all an act , too , is true or false . It is only one aspect of the act , namely , the asserted proposition , spoken or gestured as the case may be ...
... true or false , just as one cannot say that the usual method of speaking , which is after all an act , too , is true or false . It is only one aspect of the act , namely , the asserted proposition , spoken or gestured as the case may be ...
Stran 162
... true that science can say certain things about the world . It can tell us about the facts . It can give us knowledge . But litera- ture can also say certain things about the world , mainly the human world . It , too , can offer us ...
... true that science can say certain things about the world . It can tell us about the facts . It can give us knowledge . But litera- ture can also say certain things about the world , mainly the human world . It , too , can offer us ...
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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