Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 18
Pagina 9
... esthetic surface . When we are having an experience of esthetic surface in nature or a work of art , we are enjoying simply the look , the sound , the taste , the sensation , without making distinctions and without con- sidering ...
... esthetic surface . When we are having an experience of esthetic surface in nature or a work of art , we are enjoying simply the look , the sound , the taste , the sensation , without making distinctions and without con- sidering ...
Pagina 11
... esthetic form must fail and that no criteria for its presence can even be indicated . In any event , precisely what ... surface or esthetic form simply in themselves . Indeed , our apprecia- tion of works of art does not usually consist ...
... esthetic form must fail and that no criteria for its presence can even be indicated . In any event , precisely what ... surface or esthetic form simply in themselves . Indeed , our apprecia- tion of works of art does not usually consist ...
Pagina 12
... esthetic surface . This something comes from life , from the world of experience outside art - and for lack of a better term I shall call what is thus conveyed life - values . The arts , especially the fine arts , have sometimes a surface ...
... esthetic surface . This something comes from life , from the world of experience outside art - and for lack of a better term I shall call what is thus conveyed life - values . The arts , especially the fine arts , have sometimes a surface ...
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