Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 26
Pagina 18
... described earlier in this chapter . ( I call it " esthetic form " rather than " artistic form " because the forms described occur in nature , to a limited extent at least , as well as in works of art . ) This usage of the term is ...
... described earlier in this chapter . ( I call it " esthetic form " rather than " artistic form " because the forms described occur in nature , to a limited extent at least , as well as in works of art . ) This usage of the term is ...
Pagina 100
... described ; Bell defines it in terms of the " esthetic emotion " ( significant form being present when the esthetic emotion is aroused ) , but since he defines the esthetic emo- tion in terms of significant form ( the esthetic emotion ...
... described ; Bell defines it in terms of the " esthetic emotion " ( significant form being present when the esthetic emotion is aroused ) , but since he defines the esthetic emo- tion in terms of significant form ( the esthetic emotion ...
Pagina 223
... described in the preceding chap- ters . In this sense , to say of a work of art that it is real is to say that it reveals these " essences " which are communicable to us and veri- fiable ( in the way we have described ) in our ...
... described in the preceding chap- ters . In this sense , to say of a work of art that it is real is to say that it reveals these " essences " which are communicable to us and veri- fiable ( in the way we have described ) in our ...
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