Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 7
Pagina 35
... music ( as in analogous instances in painting which we might pre- sent ) , we do not accept the simple fiat of the ... Baroque Music " cites many in- teresting examples which he calls " allegory " to distinguish them from purely ...
... music ( as in analogous instances in painting which we might pre- sent ) , we do not accept the simple fiat of the ... Baroque Music " cites many in- teresting examples which he calls " allegory " to distinguish them from purely ...
Pagina 37
... music ( which will be discussed below ) . In the baroque period music is a language of signs , in which every sign has one or more meanings ; but these can only reproduce things which are more or less known in advance . . . . Baroque ...
... music ( which will be discussed below ) . In the baroque period music is a language of signs , in which every sign has one or more meanings ; but these can only reproduce things which are more or less known in advance . . . . Baroque ...
Pagina 38
... baroque ceremonial - the pigeon - holing of the stereotyped emotions - gave way before the so- called natural feelings . To the rising middle - class age the formality of baroque music appeared unnatural , even inhuman . The two styles ...
... baroque ceremonial - the pigeon - holing of the stereotyped emotions - gave way before the so- called natural feelings . To the rising middle - class age the formality of baroque music appeared unnatural , even inhuman . The two styles ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
In Painting | 38 |
PROPOSITIONAL TRUTH | 141 |
Copyright | |
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Aristotle artist assertion baroque music beauty Beethoven Bell certainly Cézanne Chapter character Charles Mauron Clive Bell colors common composition convention critics described discussed distinction drama Eastman effect essence esthetic experience esthetic form esthetic surface evocation evoke example expression fact feeling George Santayana give Gurney Hanslick historical I. A. Richards Ibid imaginative imitate important irrelevant kind knowledge L. A. Reid language life-values listener literary literature Marc Chagall material matter Max Eastman meaning medium merely mind musical experiences natural symbol notion novel objects Odyssey painter painting particular perception person picture plastic poem poet poetic present Professor Greene program music propositions psychological pure question realism reality refer referential relevant represent representational Roger Fry Santayana sense significant form simply sounds speak statements subject-matter Sullivan T. E. Hulme term theme things tion true true-to truth usage vision visual words York