Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 16
Pagina 31
... convention ; and in most cases another symbol could easily have been substituted . In these cases there is generally some convention or stipulation , but the fact that one convention was selected rather than another is " not an accident ...
... convention ; and in most cases another symbol could easily have been substituted . In these cases there is generally some convention or stipulation , but the fact that one convention was selected rather than another is " not an accident ...
Pagina 76
... convention when used in a certain context , one must ( if he is to use it at all ) arbitrarily confer a meaning upon it . This must be made clear beyond the slightest doubt : No word has meaning ( in the sense of reference ) in itself ...
... convention when used in a certain context , one must ( if he is to use it at all ) arbitrarily confer a meaning upon it . This must be made clear beyond the slightest doubt : No word has meaning ( in the sense of reference ) in itself ...
Pagina 160
... 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 agreement ) wave my handker- chief at ...
... 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 agreement ) wave my handker- chief at ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
TRUTH IN THE ARTS | 60 |
THE ARTISTIC RELEVANCE OF TRUTH | 208 |
Copyright | |
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Aristotle artist assertion baroque music beauty Beethoven Bell certainly Cézanne Chapter character Clive Bell colors common composition convention critics described discussed distinction drama Eastman effect El Greco essence esthetic experience esthetic form esthetic surface evocation evoke example expression fact feeling George Santayana give Gurney Hanslick historical I. A. Richards Ibid images 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 Odysseus painter painting particular perception person 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