A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1979 - 563 pagine |
Dall'interno del libro
Risultati 1-3 di 67
Pagina 197
... significant ideas in which the objects of the imagination are conveyed . Language is so transparent , that it disappears , so to speak , into its own meaning , and we are left with no characteristic medium at all . I do not think there ...
... significant ideas in which the objects of the imagination are conveyed . Language is so transparent , that it disappears , so to speak , into its own meaning , and we are left with no characteristic medium at all . I do not think there ...
Pagina 284
... significant " ? The significance in question , it would appear , consists of the expression of the artist's emotion , but the only emotion that Bell considers legitimate in art - the peculiarly " esthetic " emotion - is aroused by the ...
... significant " ? The significance in question , it would appear , consists of the expression of the artist's emotion , but the only emotion that Bell considers legitimate in art - the peculiarly " esthetic " emotion - is aroused by the ...
Pagina 436
... significant form ; and anything which is not art has no such form . To this the Emotionalist replies that the truly essential property of art has been left out . Tolstoy , Ducasse , or any of the advocates of this theory , find that the ...
... significant form ; and anything which is not art has no such form . To this the Emotionalist replies that the truly essential property of art has been left out . Tolstoy , Ducasse , or any of the advocates of this theory , find that the ...
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A. C. Bradley abstract activity appreciation Aristotle artist artworld beauty become Bernard Bosanquet called character characteristic Clive Bell color common complete concept consciousness contemplation contextualist created creative Criticism dance defined definition Dionysian Distance dream effect elements embodiment emotion esthetic theory esthetic value estheticians Étienne Gilson example existence expression external fact feeling George Dickie Greek human ideas imagination imitation individual intuition JAAC John Dewey judgment kind language look Ludwig Wittgenstein machine material means MELVIN RADER mind modern moral Morris Weitz movement nature novel object organic painter painting perception person phantasy Philosophical physical picture play pleasure poet poetry present principle production psychology pure R. G. Collingwood reality reason relation representation Rudolf Arnheim sculpture sense shape social structure style sublime symbol taste things tion tragedy unity University Press vision visual whole word world vision York