Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 46
Pagina 25
... distinction remains to be made , and this can best be brought out by means of a concrete example . What is the material of music ? Is it notes , or is it human experiences and feelings ? Both of these answers seem to be true , and yet ...
... distinction remains to be made , and this can best be brought out by means of a concrete example . What is the material of music ? Is it notes , or is it human experiences and feelings ? Both of these answers seem to be true , and yet ...
Pagina 136
... distinction which has pervaded the discussion of artistic meaning . " Beauty " can be used in a thick or a thin sense , and confusions and disagreements may arise through a failure to specify in which way one is using the word . One ...
... distinction which has pervaded the discussion of artistic meaning . " Beauty " can be used in a thick or a thin sense , and confusions and disagreements may arise through a failure to specify in which way one is using the word . One ...
Pagina 201
John Hospers. Professor James draws a distinction made famous by Coleridge , between the imagination and the fancy ( a distinction of special interest for our purposes ) ; although unlike Coleridge , James does not consider them to be ...
John Hospers. Professor James draws a distinction made famous by Coleridge , between the imagination and the fancy ( a distinction of special interest for our purposes ) ; although unlike Coleridge , James does not consider them to be ...
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