Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 48
Pagina 63
... expression of some emotion ( in which the expresser does not know just what it is he is expressing until the act of expression is completed ) from an act of deliberate evocation of that emotion , classifying the prod- ucts of the former ...
... expression of some emotion ( in which the expresser does not know just what it is he is expressing until the act of expression is completed ) from an act of deliberate evocation of that emotion , classifying the prod- ucts of the former ...
Pagina 69
... expression . 12 For those who do not read Arabic the decorative inscriptions in Saracenic monuments are not expressive of what the inscriptions say ( Santayana's own example ) ; but even when there are two ... expression ) is EXPRESSION 69.
... expression . 12 For those who do not read Arabic the decorative inscriptions in Saracenic monuments are not expressive of what the inscriptions say ( Santayana's own example ) ; but even when there are two ... expression ) is EXPRESSION 69.
Pagina 70
... expression to occur at all there must be this latter relationship ( whereby the joy is felt in the very music ) ; if the one merely suggests the other without embodying it , there is no expression . I would much prefer the second usage ...
... expression to occur at all there must be this latter relationship ( whereby the joy is felt in the very music ) ; if the one merely suggests the other without embodying it , there is no expression . I would much prefer the second usage ...
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