Art and Philosophy: Readings in AestheticsW. E. Kennick St. Martin's Press, 1964 - 674 頁 |
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第 1 到 3 筆結果,共 86 筆
第 36 頁
... lines ; in most oil paintings the spaces are multi - coloured and so are the boundaries ; you cannot imagine a boundary line without any content , or a content without a boundary line . Therefore , when I speak of significant form , I ...
... lines ; in most oil paintings the spaces are multi - coloured and so are the boundaries ; you cannot imagine a boundary line without any content , or a content without a boundary line . Therefore , when I speak of significant form , I ...
第 161 頁
... lines is more restrained than that of Byron's lines . There is an urgency in Marvell's language and an abrupt increase in in- tensity in the lines by Wordsworth . These differences in tonal effect ap- pear to depend partly on the kind ...
... lines is more restrained than that of Byron's lines . There is an urgency in Marvell's language and an abrupt increase in in- tensity in the lines by Wordsworth . These differences in tonal effect ap- pear to depend partly on the kind ...
第 174 頁
... line of association and of evocation is as important as the fact that other lines are developed . For example , what precedes " death " and what follows it rule out evocation of both sentimental and morbid attitudes and feelings ...
... line of association and of evocation is as important as the fact that other lines are developed . For example , what precedes " death " and what follows it rule out evocation of both sentimental and morbid attitudes and feelings ...
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A. E. Housman aesthetic experience aesthetic judgment aesthetic terms aestheticians ambiguity analogy analysis answer appreciation architecture Aristotelian Society artist aspect beauty belief Cassie catachresis character characteristic Charlotte Brontë Clive Bell color concepts consider contemplating creative criteria criticism definition Distance distinction elements emotion Epic poetry evaluation example expression fact false feeling fiction function give hexapod human I. A. Richards idea imagination imitation imply intellect interpretation intuition Jane Austen kind knowledge language linguistic literary literature logical look matter meaning ment metaphor mind moral Morris Weitz nature novel observe painter painting perception person philosophers picture play pleasure poem poet poetic poetry problem propositions qualities question R. G. Collingwood reader reason relation relevant sculpture sensation sense sentence sort speak statement suggest suppose symbol T. S. Eliot theory things tion true truth visual words writing