Meaning and Truth in the ArtsArchon Books, 1964 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 34
Pagina 33
... symbol , " respectively . Mrs. Langer , again , distinguishes between a sign and a symbol on the basis of whether the relation is triadic ( subject - sign - object ) or tetradic ( subject- symbol - conception - object ) . Both signs and ...
... symbol , " respectively . Mrs. Langer , again , distinguishes between a sign and a symbol on the basis of whether the relation is triadic ( subject - sign - object ) or tetradic ( subject- symbol - conception - object ) . Both signs and ...
Pagina 39
... symbols approach the point of being purely conventional , but generally there is enough of a natural relation between symbol and thing symbolized to justify their classification as " allegory " ( as Bukofzer defines it ) . ( In some ...
... symbols approach the point of being purely conventional , but generally there is enough of a natural relation between symbol and thing symbolized to justify their classification as " allegory " ( as Bukofzer defines it ) . ( In some ...
Pagina 61
... symbols must have objects in order to be symbols , must conclude either that sensory forms are not symbols at all , or that they are " symbols " in a radically new and hitherto unspecified sense.36 If the concept of a natural symbol is ...
... symbols must have objects in order to be symbols , must conclude either that sensory forms are not symbols at all , or that they are " symbols " in a radically new and hitherto unspecified sense.36 If the concept of a natural symbol is ...
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