Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 23
Pagina 83
... hear music " pure , " without “ emotive " meanings or associations from life , and those who hear it as an expression of emotions or some other extra - musical content . And the more experienced a listener 13. Ibid . , pp . 339-43 . We ...
... hear music " pure , " without “ emotive " meanings or associations from life , and those who hear it as an expression of emotions or some other extra - musical content . And the more experienced a listener 13. Ibid . , pp . 339-43 . We ...
Pagina 97
... hear- ing the music is never the sadness of personal bereavement , and yet the word is used in describing the music because of some felt correspondence between it and the emotion of daily life . There is a recognizable similarity , yet ...
... hear- ing the music is never the sadness of personal bereavement , and yet the word is used in describing the music because of some felt correspondence between it and the emotion of daily life . There is a recognizable similarity , yet ...
Pagina 195
... hear things . " What it is generally claimed to be true - to , when this claim is made for it , is our emotional or affective nature . For example , " The real power of music lies in the fact that it can be ' true to ' the life of ...
... hear things . " What it is generally claimed to be true - to , when this claim is made for it , is our emotional or affective nature . For example , " The real power of music lies in the fact that it can be ' true to ' the life of ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
In Painting | 38 |
PROPOSITIONAL TRUTH | 141 |
Copyright | |
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Parole e frasi comuni
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