Meaning and Truth in the ArtsArchon Books, 1964 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 43
Pagina 87
... pure " listener may possess on the margin of his consciousness non - musical images and organic and mental activities which he does not introspectively discern ; and it is sometimes a kind of musical snobbery which inhibits him from ...
... pure " listener may possess on the margin of his consciousness non - musical images and organic and mental activities which he does not introspectively discern ; and it is sometimes a kind of musical snobbery which inhibits him from ...
Pagina 100
... pure form ? " 39 The exact nature of this pure form , or as Bell calls it , “ signifi- cant form , " is never described ; Bell defines it in terms of the " esthetic emotion " ( significant form being present when the esthetic emotion is ...
... pure form ? " 39 The exact nature of this pure form , or as Bell calls it , “ signifi- cant form , " is never described ; Bell defines it in terms of the " esthetic emotion " ( significant form being present when the esthetic emotion is ...
Pagina 121
... pure poetry , " but his ideal of pure poetry is not that it be purged of life - values , but rather that only certain life - values — those directly concerned with " the enduring world of things , " rather than moral reflections , for ...
... pure poetry , " but his ideal of pure poetry is not that it be purged of life - values , but rather that only certain life - values — those directly concerned with " the enduring world of things , " rather than moral reflections , for ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
In Painting | 38 |
PROPOSITIONAL TRUTH | 141 |
Copyright | |
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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