Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 75
Pagina 7
... esthetic attitude is , to be sure , " a matter of degree " ; a given attitude may be more esthetic or less esthetic than another , and the esthetic and the non - esthetic gradually shade into each other ; there is a penumbra or twilight ...
... esthetic attitude is , to be sure , " a matter of degree " ; a given attitude may be more esthetic or less esthetic than another , and the esthetic and the non - esthetic gradually shade into each other ; there is a penumbra or twilight ...
Pagina 11
... esthetic form must fail and that no criteria for its presence can even be indicated . In any event , precisely what prin- ciples of form , if any , can be laid down do not really matter for our purposes ; I have suggested a few simply ...
... esthetic form must fail and that no criteria for its presence can even be indicated . In any event , precisely what prin- ciples of form , if any , can be laid down do not really matter for our purposes ; I have suggested a few simply ...
Pagina 14
... esthetic . " Some works of art are noteworthy primarily because they are esthetic in one sense , and some because they are esthetic in the other . Botticelli and Matisse , for example , are certainly esthetic primarily in the thin sense ...
... esthetic . " Some works of art are noteworthy primarily because they are esthetic in one sense , and some because they are esthetic in the other . Botticelli and Matisse , for example , are certainly esthetic primarily in the thin sense ...
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