A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1973 - 568 pagine |
Dall'interno del libro
Risultati 1-3 di 74
Pagina 76
... physical phenomena with art . And if it be asked why art cannot be a physical fact , we must reply , in the first place , that physical facts do not possess reality , and that art , to which so many devote their whole lives and which ...
... physical phenomena with art . And if it be asked why art cannot be a physical fact , we must reply , in the first place , that physical facts do not possess reality , and that art , to which so many devote their whole lives and which ...
Pagina 203
... physical but spiritual . For example , Croce maintained that the physical objects — the statue , the building , the printed poem , and so forth - are not to be confused with art . They are simply " memoranda , " physical stimulants for ...
... physical but spiritual . For example , Croce maintained that the physical objects — the statue , the building , the printed poem , and so forth - are not to be confused with art . They are simply " memoranda , " physical stimulants for ...
Pagina 400
... physical object ( Monroe C. Beardsley , Aesthetics , Ch . 1 ) . Without the presence of a physical object , such as paint on canvas , we would not of course perceive any painting , but the attention must be focused on the perceived ...
... physical object ( Monroe C. Beardsley , Aesthetics , Ch . 1 ) . Without the presence of a physical object , such as paint on canvas , we would not of course perceive any painting , but the attention must be focused on the perceived ...
Sommario
THE MEANING OF | 1 |
THE CREATIVE PROCESS | 23 |
EXPRESSION OF EMOTION | 50 |
Copyright | |
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abstract Abstract Expressionism activity appear appreciation Aristotle artist attitude avant-garde beauty become called character Clement Greenberg Clive Bell color complete concept concrete consciousness contemplation contextualist critic Cubism culture definition Dionysian Distance distinction distinguished dream elements empathy estheticians example existence experience expression external fact feeling formal function Greek human Ian McHarg ideas imagination imitation important impulse individual intuition John Hospers kind language look Lucien Goldmann material meaning ment mind Morris Weitz movement musical expression nature nude object organic painting pattern perceived perception person philosophy physical picture play pleasure poem poet poetic poetry present principle produced psychology pure reality reason relation rhythm Rudolf Arnheim sculpture sensation sense sensuous shape significant form social sound speak species-being structure style symbol taste theory things tion understand unity vision visual vivid whole WILHELM WORRINGER words world vision