Problems of Art: Ten Philosophical LecturesScribner, 1957 - 184 pagine |
Dall'interno del libro
Risultati 1-3 di 31
Pagina 5
... physical forces of the dancer's muscles , which actually cause the movements taking place . The forces we seem to perceive most directly and convincingly are created for our perception ; and they exist only for it . Anything that exists ...
... physical forces of the dancer's muscles , which actually cause the movements taking place . The forces we seem to perceive most directly and convincingly are created for our perception ; and they exist only for it . Anything that exists ...
Pagina 10
... physical forces , drawing and driving , holding and shap- ing its life . The actual , physical forces that underlie it disappear . As soon as the beholder sees gymnastics and arrangements , the work of art breaks , the creation fails ...
... physical forces , drawing and driving , holding and shap- ing its life . The actual , physical forces that underlie it disappear . As soon as the beholder sees gymnastics and arrangements , the work of art breaks , the creation fails ...
Pagina 37
... physical motions . But the motions of strings , membranes , or tubes are extremely small , rapid , and repetitious ; they are no more like the movement of a simple melody toward its keynote than the spatial relations of pigments on a ...
... physical motions . But the motions of strings , membranes , or tubes are extremely small , rapid , and repetitious ; they are no more like the movement of a simple melody toward its keynote than the spatial relations of pigments on a ...
Altre edizioni - Visualizza tutto
Problems of Art: Ten Philosophical Lectures Susanne Katherina Knauth Langer Visualizzazione estratti - 1957 |
Problems of Art: Ten Philosophical Lectures Susanne Katherina Knauth Langer Visualizzazione estratti - 1957 |
Parole e frasi comuni
abstraction actual appearance Aristotle art symbol articulation artistic perception beauty Cecil Day Lewis Clive Bell color complex composition concept connotation convey creation Curt Sachs dance denotation devices discursive distinct dynamic form dynamic image effect elements emotion Ernest Nagel experience expressive form fact formulative function human feeling idea illusion imagination imitation import insight intuition intuitive knowledge Irwin Edman language lines literal living form logical form material meaning ment metaphor motion names nature normal object organic painting pattern perceive philosophical physical pictorial space picture plastic art poem poet poetic poetry present primary apparition primitive principles of art pure reality reason relations rhythmic rhythms Roger Fry sculpture seems semanticists semantics sense sensuous sentience shape significant form simply song sound statement structure subjective SUSANNE LANGER T. S. Eliot theory things thought tion tonal tones unity usually virtual space visual vital whole words