Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 42
Stran 23
... values ; hence a painter who is able to express , without neglect of plastic values [ i.e. , the represen- tational values of nature ] , poetic and psychographic values as well , is a greater painter than one who expresses plastic values ...
... values ; hence a painter who is able to express , without neglect of plastic values [ i.e. , the represen- tational values of nature ] , poetic and psychographic values as well , is a greater painter than one who expresses plastic values ...
Stran 31
... values embodied in religion , social thought , philosophy , and the arts are the expressions of our capitalistic ... values of the work , and the form is the way in which these values are expressed , the " style " of the work . Both the ...
... values embodied in religion , social thought , philosophy , and the arts are the expressions of our capitalistic ... values of the work , and the form is the way in which these values are expressed , the " style " of the work . Both the ...
Stran 199
... values in art and the equal aesthetic weight of each , so far as our evaluations are concerned . It is true that aesthetic criticism is rooted in part in a philosophy of values but , on the principle that the aesthetic ex- perience is ...
... values in art and the equal aesthetic weight of each , so far as our evaluations are concerned . It is true that aesthetic criticism is rooted in part in a philosophy of values but , on the principle that the aesthetic ex- perience is ...
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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