Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 30
Pagina 23
... common usage is not so precise as to require us to say definitely that violins are represented or that they are not , just as common usage does not require us to decide whether certain borderline experiences are or are not esthetic ...
... common usage is not so precise as to require us to say definitely that violins are represented or that they are not , just as common usage does not require us to decide whether certain borderline experiences are or are not esthetic ...
Pagina 197
... common every - day experience is not equivalent to that which is given to us through the senses , but is an ... common experience is an imaginative synthesis of the given data of sense , the world of poetry is an imaginative synthesis or ...
... common every - day experience is not equivalent to that which is given to us through the senses , but is an ... common experience is an imaginative synthesis of the given data of sense , the world of poetry is an imaginative synthesis or ...
Pagina 205
John Hospers. " But , " it may be replied , “ common usage is confused . " And so it is , perhaps , on some points . For example , there are senses of the word " truth " ( though it must be emphasized that they are not very common ones ...
John Hospers. " But , " it may be replied , “ common usage is confused . " And so it is , perhaps , on some points . For example , there are senses of the word " truth " ( though it must be emphasized that they are not very common ones ...
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