Aesthetics and CriticismRoutledge & Paul, 1955 - 341 páginas |
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Página 152
... observer , and ( b ) that the critic is to judge a work of art ( i ) in terms of its success in communicating the artist's experience to the mind of the observer , and ( ii ) by the value he attaches to the communicated experi- ence ...
... observer , and ( b ) that the critic is to judge a work of art ( i ) in terms of its success in communicating the artist's experience to the mind of the observer , and ( ii ) by the value he attaches to the communicated experi- ence ...
Página 161
... observer , in the sense that the artist arranges that a competent observer shall hear the same set of musical sounds or see the same arrangement of colours and shapes as he heard or saw when he invented them . But this much is true ...
... observer , in the sense that the artist arranges that a competent observer shall hear the same set of musical sounds or see the same arrangement of colours and shapes as he heard or saw when he invented them . But this much is true ...
Página 164
... observer directly as an immediate response to the formal qualities of visual or aural sensations and , more obscurely , by response to the formal and structural qualities of verbal symbols . In music and the non - representational arts ...
... observer directly as an immediate response to the formal qualities of visual or aural sensations and , more obscurely , by response to the formal and structural qualities of verbal symbols . In music and the non - representational arts ...
Índice
THE CRAFT OF CRITICISM | 5 |
APOLOGIA FOR AESTHETICS | 24 |
ILLUSIONISM | 48 |
Direitos de autor | |
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Palavras e frases frequentes
abstract actual aesthetic aesthetic objects aesthetic wholes aesthetician appreciation Aristotle aroused artefacts artistic excellence assessment assumption attention attitude awareness become believe claim Clive Bell colour communicate completely conception configuration conscious criterion describe doctrine effect emotional ence essay exists expression Expressionism Expressionist Expressionist theory Ezra Pound F. R. Leavis fact feeling human I. A. Richards ideas imagination imitation influence judge judgement L. A. Reid language less literary art literary criticism literary excellence literature logical means mental mind mode moral mystical nature organic unity organic whole painter painting perception person philosophical picture pleasure poem poet poetic poetry practical criticism precision principle prose psychology reader Realism reality reason recording rhythm Roger Fry seems sense sort sound structure symbols T. E. Hulme T. S. Eliot taste theory of art theory of beauty things thought tion true truth verbal visual experience words
Referências a este livro
Dancers Talking Dance: Critical Evaluation in the Choreography Class Larry Lavender Pré-visualização indisponível - 1996 |