Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 46
Pagina 224
... reality , and to leave it at that , is assuredly to emaciate art : for anything whatever may give a sense of reality , depending on the person and the condition . in which he finds himself . To say that art gives us a sense of reality ...
... reality , and to leave it at that , is assuredly to emaciate art : for anything whatever may give a sense of reality , depending on the person and the condition . in which he finds himself . To say that art gives us a sense of reality ...
Pagina 225
... reality " to see how they are using the term and whether their claims are justified . Writers on painting seem to be ... reality . . . . Time and subjective vision veil the true reality . . . . The great plastic art of the past has made ...
... reality " to see how they are using the term and whether their claims are justified . Writers on painting seem to be ... reality . . . . Time and subjective vision veil the true reality . . . . The great plastic art of the past has made ...
Pagina 231
... reality , " but that it rather con- veys or communicates an " attitude " or " state of soul " based upon experiences which were experiences of reality . As long as the attitude is all we get from the music , the " reality " can be ...
... reality , " but that it rather con- veys or communicates an " attitude " or " state of soul " based upon experiences which were experiences of reality . As long as the attitude is all we get from the music , the " reality " can be ...
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