Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 31
Pagina 31
... course , there may have been reasons of appropriateness and suitability in choosing red , for example , that it is brighter and more easily seen from a distance . But this does not keep the symbol from being arbitrary , or agreed on by ...
... course , there may have been reasons of appropriateness and suitability in choosing red , for example , that it is brighter and more easily seen from a distance . But this does not keep the symbol from being arbitrary , or agreed on by ...
Pagina 171
... course it is true that it is generally sound advice to tell an author not to resort to chance events to solve his plot ( not to resolve the situation with a deus ex machina , etc. ) , since once the floodgates are opened to this sort of ...
... course it is true that it is generally sound advice to tell an author not to resort to chance events to solve his plot ( not to resolve the situation with a deus ex machina , etc. ) , since once the floodgates are opened to this sort of ...
Pagina 218
... course , the views of Fate which Homer may have made , and the propositions about evil to which Shakespeare may possibly have given his assent , may have been of great dramatic or epic signifi- cance , so that the development of their ...
... course , the views of Fate which Homer may have made , and the propositions about evil to which Shakespeare may possibly have given his assent , may have been of great dramatic or epic signifi- cance , so that the development of their ...
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