Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 39
Pagina 41
... mind of the artist . More- over , I do not think that this is a customary way of employing the word : most persons , when they speak of a work of art as imitating something , do not mean anything in the artist's mind but something in ...
... mind of the artist . More- over , I do not think that this is a customary way of employing the word : most persons , when they speak of a work of art as imitating something , do not mean anything in the artist's mind but something in ...
Pagina 79
... mind against its incertitude.1 Such " analyses , " says Gurney , are far beside the point . " In seeing what an uninteresting and inconsecutive jumble this really respect- able piece of criticism looks , " Gurney remarks , “ . . . we ...
... mind against its incertitude.1 Such " analyses , " says Gurney , are far beside the point . " In seeing what an uninteresting and inconsecutive jumble this really respect- able piece of criticism looks , " Gurney remarks , “ . . . we ...
Pagina 197
... mind is not entirely passive in the face of a world presenting itself to mind , but as essentially active in exercising certain powers which , he held , are a necessary condition of knowledge , and of knowledge of a world of objects ...
... mind is not entirely passive in the face of a world presenting itself to mind , but as essentially active in exercising certain powers which , he held , are a necessary condition of knowledge , and of knowledge of a world of objects ...
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