Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 79
Pagina 42
... Nature , even in its most rudimentary form . Sound - phenomena in unassisted Nature present no intelligible proportions , nor can they be reduced to our scale . . . . Just as little as melody , do we find in Nature ... harmony in a ...
... Nature , even in its most rudimentary form . Sound - phenomena in unassisted Nature present no intelligible proportions , nor can they be reduced to our scale . . . . Just as little as melody , do we find in Nature ... harmony in a ...
Pagina 186
... nature which Professor Bevan had never before seen , and which subsequently colored and enriched his perception of nature ; it was " true - to " nature . Perhaps it should go without saying that when different painters deal with the ...
... nature which Professor Bevan had never before seen , and which subsequently colored and enriched his perception of nature ; it was " true - to " nature . Perhaps it should go without saying that when different painters deal with the ...
Pagina 206
... nature from reading Dostoyevsky ; but what do we know from seeing Cézanne or hearing Mozart ? There are propositions about human nature which we may be able to assert after reading Dostoyevsky , which we never could in the other cases ...
... nature from reading Dostoyevsky ; but what do we know from seeing Cézanne or hearing Mozart ? There are propositions about human nature which we may be able to assert after reading Dostoyevsky , which we never could in the other cases ...
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