Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 30
Pagina 54
... evoke a certain unique emotional state , which the poem alone is able to evoke . Some evocations , on this view , are natural while others are not , just as the other car in our example was a natural symbol while the red light was not ...
... evoke a certain unique emotional state , which the poem alone is able to evoke . Some evocations , on this view , are natural while others are not , just as the other car in our example was a natural symbol while the red light was not ...
Pagina 67
... evoke an intense effect in us even though we would never say that the object expressed it ( the sight of a snake may evoke terror without expressing terror ) . Only some evocations can be denominated ex- pressions . Our question , then ...
... evoke an intense effect in us even though we would never say that the object expressed it ( the sight of a snake may evoke terror without expressing terror ) . Only some evocations can be denominated ex- pressions . Our question , then ...
Pagina 130
... evoke in a sensitive reader images and emotions of the greatest intensity and complexity by juxtaposing words of great evocative and associa- tive power - and can evoke certain calculated effects more precisely than he could ever do if ...
... evoke in a sensitive reader images and emotions of the greatest intensity and complexity by juxtaposing words of great evocative and associa- tive power - and can evoke certain calculated effects more precisely than he could ever do if ...
Sommario
PRELIMINARY DISTINCTIONS | 10 |
In Painting | 38 |
PROPOSITIONAL TRUTH | 141 |
Copyright | |
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Aristotle 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 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 York