Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 26
Pagina 16
... hand that the form alone is important and on the other hand that art is related to and revelatory of life . And he would take the position on the side of form rather than to admit for a moment that the merit of the poem has anything to ...
... hand that the form alone is important and on the other hand that art is related to and revelatory of life . And he would take the position on the side of form rather than to admit for a moment that the merit of the poem has anything to ...
Pagina 87
... hand the " pure " listener may possess on the margin of his consciousness non - musical images and organic and mental activities which he does not introspectively discern ; and it is sometimes a kind of musical snobbery which inhibits ...
... hand the " pure " listener may possess on the margin of his consciousness non - musical images and organic and mental activities which he does not introspectively discern ; and it is sometimes a kind of musical snobbery which inhibits ...
Pagina 154
... hand in hand ; and thus romanticism is dis- tinguished from realism on both counts.19 4 This chapter began with an inquiry about whether a work of art is " true " if it is composed of statements every one of which is true , and we were ...
... hand in hand ; and thus romanticism is dis- tinguished from realism on both counts.19 4 This chapter began with an inquiry about whether a work of art is " true " if it is composed of statements every one of which is true , and we were ...
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