Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 18
Pagina 9
... surface.1 When we are having an experience of esthetic surface in nature or a work of art , we are enjoying simply the look , the sound , the taste , the sensation , without making distinctions and without con- sidering meanings or ...
... surface.1 When we are having an experience of esthetic surface in nature or a work of art , we are enjoying simply the look , the sound , the taste , the sensation , without making distinctions and without con- sidering meanings or ...
Pagina 11
... surface or esthetic form simply in themselves . Indeed , our apprecia- tion of works of art does not usually consist primarily of these at all . We often apply the words " beautiful " and " great " to works which , viewed from the ...
... surface or esthetic form simply in themselves . Indeed , our apprecia- tion of works of art does not usually consist primarily of these at all . We often apply the words " beautiful " and " great " to works which , viewed from the ...
Pagina 12
... surface . This something comes from life , from the world of experience outside art — and for lack of a better term I shall call what is thus conveyed life - values . The arts , especially the fine arts , have sometimes a surface more ...
... surface . This something comes from life , from the world of experience outside art — and for lack of a better term I shall call what is thus conveyed life - values . The arts , especially the fine arts , have sometimes a surface more ...
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