Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 19
Pagina 44
... listener's response is thus channelized , the enjoyment is generally enhanced ( if the program really " fits the music " ) through the association of the emotions and images produced by the music with those produced by the program . The ...
... listener's response is thus channelized , the enjoyment is generally enhanced ( if the program really " fits the music " ) through the association of the emotions and images produced by the music with those produced by the program . The ...
Pagina 58
... listener does not feel this " finality , " no amount of analy- sis and arbitrary definition can make him do so . It may well be , and indeed is undoubtedly the case , that most listeners do feel a " sense of finality " when Professor ...
... listener does not feel this " finality , " no amount of analy- sis and arbitrary definition can make him do so . It may well be , and indeed is undoubtedly the case , that most listeners do feel a " sense of finality " when Professor ...
Pagina 83
... listener 13. Ibid . , pp . 339-43 . We have already seen ( in discussing symbolization ) that there is no necessary relationship or correlation between any given physical pattern of notes and a given reaction on the part of the listener ...
... listener 13. Ibid . , pp . 339-43 . We have already seen ( in discussing symbolization ) that there is no necessary relationship or correlation between any given physical pattern of notes and a given reaction on the part of the listener ...
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