Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 45
Pagina 25
... distinction remains to be made , and this can best be brought out by means of a concrete example . What is the material of music ? Is it notes , or is it human experiences and feelings ? Both of these answers seem to be true , and yet ...
... distinction remains to be made , and this can best be brought out by means of a concrete example . What is the material of music ? Is it notes , or is it human experiences and feelings ? Both of these answers seem to be true , and yet ...
Pagina 201
John Hospers. Professor James draws a distinction made famous by Coleridge , between the imagination and the fancy ( a distinction of special interest for our purposes ) ; although unlike Coleridge , James does not consider them to be ...
John Hospers. Professor James draws a distinction made famous by Coleridge , between the imagination and the fancy ( a distinction of special interest for our purposes ) ; although unlike Coleridge , James does not consider them to be ...
Pagina 233
... distinction between " knowledge by acquaintance " and " knowledge by de- scription " ; 25 but Moritz Schlick has made approximately ( not exactly ) the same distinction in a manner which seems to me much more satisfactory by contrasting ...
... distinction between " knowledge by acquaintance " and " knowledge by de- scription " ; 25 but Moritz Schlick has made approximately ( not exactly ) the same distinction in a manner which seems to me much more satisfactory by contrasting ...
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