Aesthetics and CriticismRoutledge & Paul, 1955 - 341 páginas |
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Página 76
... visual experience with some fulness and exactness , limited only by the limitations of his pigments . For he can provide a material analogue of any visual experience by means of which others can repeat the experience within limits — as ...
... visual experience with some fulness and exactness , limited only by the limitations of his pigments . For he can provide a material analogue of any visual experience by means of which others can repeat the experience within limits — as ...
Página 179
... visual experiences of purple and green surfaces in a specific pattern . If these visual experiences are interesting or pleasing in them- selves , or if they are novel in their representational context , they may indirectly influence our ...
... visual experiences of purple and green surfaces in a specific pattern . If these visual experiences are interesting or pleasing in them- selves , or if they are novel in their representational context , they may indirectly influence our ...
Página 245
... visual field therefore change according to the way in which you fix attention upon it , without any corresponding change in the physical stimulus . Colour interaction works by contrast , each colour - area sur- rounding itself as it ...
... visual field therefore change according to the way in which you fix attention upon it , without any corresponding change in the physical stimulus . Colour interaction works by contrast , each colour - area sur- rounding itself as it ...
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 |