Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 72
Pagina 25
... seems to cut two ways ) . 6 One further distinction remains to be made , and this can best be brought out by means of a concrete example . What is the material of music ? Is it notes , or is it human experiences and feelings ? Both of ...
... seems to cut two ways ) . 6 One further distinction remains to be made , and this can best be brought out by means of a concrete example . What is the material of music ? Is it notes , or is it human experiences and feelings ? Both of ...
Pagina 66
... seem to see it ; but the feeling is there when we feel it — nothing else is required for its " being there . " We see ... seems to me that ( i ) in the broadest and loosest possible sense , when something ( such as a piece of music ) , x ...
... seem to see it ; but the feeling is there when we feel it — nothing else is required for its " being there . " We see ... seems to me that ( i ) in the broadest and loosest possible sense , when something ( such as a piece of music ) , x ...
Pagina 70
... seems to be saying on the one hand ( 1 ) that one thing may express another simply by suggesting that other to the mind , but that for esthetic expression to occur , the two must not only " lie together in the mind , ” but one must be ...
... seems to be saying on the one hand ( 1 ) that one thing may express another simply by suggesting that other to the mind , but that for esthetic expression to occur , the two must not only " lie together in the mind , ” but one must 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