Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 49
Pagina 96
... tion experienced in the presence of the work of art is different from the emotion experienced outside the work , the " sadness " in life is not the " sadness " in the second movement of the Eroica ( nor , of course , is the " sadness ...
... tion experienced in the presence of the work of art is different from the emotion experienced outside the work , the " sadness " in life is not the " sadness " in the second movement of the Eroica ( nor , of course , is the " sadness ...
Pagina 153
... tion in what one transcribes , and ( 2 ) a decision to transcribe faithfully ( " objectively " ) those details which one does select . Realism , as ordinarily practiced , includes some of both . Zola's Experimental Novel preaches ...
... tion in what one transcribes , and ( 2 ) a decision to transcribe faithfully ( " objectively " ) those details which one does select . Realism , as ordinarily practiced , includes some of both . Zola's Experimental Novel preaches ...
Pagina 160
... tion , if there were a stipulated convention about it ; words after all are not the only possible symbols , they only happen to be the most convenient ones for most purposes . For example , at an afternoon tea I might ( by previous ...
... tion , if there were a stipulated convention about it ; words after all are not the only possible symbols , they only happen to be the most convenient ones for most purposes . For example , at an afternoon tea I might ( by previous ...
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