Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 41
Pagina 223
... reality " to a Cézanne canvas , we mean that it is true - to our experience of distance or spatial depth or form in the way we have described in the preceding chap- ters . In this sense , to say of a work of art that it is real is to ...
... reality " to a Cézanne canvas , we mean that it is true - to our experience of distance or spatial depth or form in the way we have described in the preceding chap- ters . In this sense , to say of a work of art that it is real is to ...
Pagina 226
... reality to which we have already seen reason to object . Many critics , ap- parently , possessing unusual sensitivity , and feeling the emotion of " pure form " ( or whatever emotion in connection with works of art which they most ...
... reality to which we have already seen reason to object . Many critics , ap- parently , possessing unusual sensitivity , and feeling the emotion of " pure form " ( or whatever emotion in connection with works of art which they most ...
Pagina 231
... reality , " but that it rather con- veys or communicates an " attitude " or " state of soul " based upon experiences which were experiences of reality . As long as the attitude is all we get from the music , the " reality " can be ...
... reality , " but that it rather con- veys or communicates an " attitude " or " state of soul " based upon experiences which were experiences of reality . As long as the attitude is all we get from the music , the " reality " can be ...
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