Meaning and Truth in the ArtsArchon Books, 1964 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 24
Pagina 197
... imaginative synthesis or con- struction from the every - day world of common experience . The former is the product of the " primary imagination , " the latter of the " secondary imagination . " Our ordinary knowledge of the world and ...
... imaginative synthesis or con- struction from the every - day world of common experience . The former is the product of the " primary imagination , " the latter of the " secondary imagination . " Our ordinary knowledge of the world and ...
Pagina 198
... imagination , attributed to the secondary imagination — it is consciously exercised or it is " co- existent with the conscious will " ; it is deliberately exerted in an effort to gather a mass of fact into a single coherent scheme ...
... imagination , attributed to the secondary imagination — it is consciously exercised or it is " co- existent with the conscious will " ; it is deliberately exerted in an effort to gather a mass of fact into a single coherent scheme ...
Pagina 201
... imagination , or at the higher level of the secondary ; and the secondary imagination is only an extension of the former . . . . It is an activity whereby the world is prehended , and , in that prehension , at once dis- solved and ...
... imagination , or at the higher level of the secondary ; and the secondary imagination is only an extension of the former . . . . It is an activity whereby the world is prehended , and , in that prehension , at once dis- solved and ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
In Painting | 38 |
PROPOSITIONAL TRUTH | 141 |
Copyright | |
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Parole e frasi comuni
artist assertion baroque music beauty Beethoven Bell certainly Cézanne Chapter character Charles Mauron Clive Bell colors common composition convention critics described discussed distinction drama Eastman effect essence esthetic experience esthetic form esthetic surface evocation evoke example expression fact feeling George Santayana give Gurney Hanslick historical I. A. Richards Ibid 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 Odyssey painter painting particular perception person Philosophy plastic poem poet poetic poetry 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 theory things tion true true-to truth usage vision visual words