A Study in AestheticsG. Allen & Unwin, 1931 - 415 pagine |
Dall'interno del libro
Risultati 1-3 di 13
Pagina 178
... imitation we usually mean representation in some medium , say colour spread upon a flat surface , the limitations ... Imitation is never thoroughgoing in true art . Imitation may be , some- times , a part of the process , but is never ...
... imitation we usually mean representation in some medium , say colour spread upon a flat surface , the limitations ... Imitation is never thoroughgoing in true art . Imitation may be , some- times , a part of the process , but is never ...
Pagina 179
... imitation to select to eliminate , to stress , to add , to con- struct a process which only properly ends , as we have seen , in the completion of a work of art . His ' imitation ' is a qualified one , though it is still so much of an ...
... imitation to select to eliminate , to stress , to add , to con- struct a process which only properly ends , as we have seen , in the completion of a work of art . His ' imitation ' is a qualified one , though it is still so much of an ...
Pagina 180
... imitation at all . This is true of the imitations which may occur in programme music . But programme music , of course , need not contain imitations in the crude sense of sound - imitations of sounds , say pastoral sounds or storms at ...
... imitation at all . This is true of the imitations which may occur in programme music . But programme music , of course , need not contain imitations in the crude sense of sound - imitations of sounds , say pastoral sounds or storms at ...
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Parole e frasi comuni
activity aesthetic experience aesthetic expression aesthetic fusion aesthetic imagination aesthetic object appear appreciation apprehend Aristotle artist asserted association beauty and ugliness body called certainly Chapter character classicism Clive Bell cognised colours common complex conscious contemplation course critic Croce degrees difficult drama effect embodied emotions essential example exist fact feeling fulfilment function fused hand human I. A. Richards idea imagination imitation implies important interest kind knowledge Lascelles Abercrombie Martin Secker matter meaning mental merely mind moral nature non-aesthetic ontological organic painting perceived object perception perhaps perspective philosopher picture poem poetry pornography possess possible primary subject-matter problem programme music proposition psychological question realise reality relation revealed romanticism sensa sense sense data sensuous significance sometimes sounds speaking suggest teleological tendency terminal object tertiary subject-matter theory things tion tragedy true truth unity unpleasant values vision words