Vincent Tomas
Dados Biográficos
| ID | 982914 |
|---|---|
| NOME | Vincent Tomas |
| PRENOMES | Vincent |
| SOBRENOME | Tomas |
| ASSINATURA | TOMAS V |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 17 |
| TOTAL DE CITAÇÕES | 14 |
| TOTAL COMO AUTOR | 17 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1948 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2017 |
| ÍNDICE H | 2 |
Déclassement sectoriel et rassemblement public
L'article vise à documenter empiriquement quelles étaient les caractéristiques sociales des présents à Nuit Debout place de la République, en s'appuyant sur une enquête collective par questionnaires passés in situ au printemps 2016 place de la République à Paris. Bien qu'issus des classes supérieures de la société française, une bonne partie des présents sont des « créatifs culturels » travaillant dans des secteurs d'emploi en crise. La relative …
Kandinsky's Theory of Painting
KANDINSKY'S THEORY OF PAINTING Vincent Tomas Vincent Tomas Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 9, Issue 1, January 1969, Pages 19–38, https://doi.org/10.1093/bjaesthetics/9.1.19 Published: 01 January 1969
Creativity in the Arts
Mr. Stolnitz's Questions Concerning Aesthetic Vision
The Moral Point of View
Aesthetic Vision
Dr. Munro, Scientific Aesthetics, and Creative Art
Creativity in Art
W HEN a rifleman aims at his target, he knows what he wants to do. He wants to hit the bull's-eye. Before he shoots, he knows what the target is; he knows that the black circle in the center of it is the bull's-eye; and he knows that hitting the bull's-eye consists in causing a bullet to pass through that black circle. He also knows, before he has squeezed the trigger, that if, after he has squeezed it, a hole appears in the black circle, he will…
The Quest for Beauty
The Language of Morals
An Introduction to Aesthetics
The Modernity of Jonathan Edwards
G EORGE BANCROFT wrote, He that would know the workings of the New England Mind in the middle of the eighteenth century, and the throbbings of its heart, must give his days and nights to the study of Jonathan This judgment is assented to, though perhaps with some reservations about the need for burning midnight oil, by most students of our intellectual history. But if the claims Perry Miller makes in his intellectual biography of Edwardsl are jus…
Ducasse on Art and Its Appreciation
Can we Know the Contents of C. I. Lewis's Mind
Socratic Method and Critical Philosophy
Some Recent Volumes on the Arts
Art and the Social Order
Déclassement sectoriel et rassemblement public
L'article vise à documenter empiriquement quelles étaient les caractéristiques sociales des présents à Nuit Debout place de la République, en s'appuyant sur une enquête collective par questionnaires passés in situ au printemps 2016 place de la République à Paris. Bien qu'issus des classes supérieures de la société française, une bonne partie des présents sont des « créatifs culturels » travaillant dans des secteurs d'emploi en crise. La relative …
Creativity in Art
W HEN a rifleman aims at his target, he knows what he wants to do. He wants to hit the bull's-eye. Before he shoots, he knows what the target is; he knows that the black circle in the center of it is the bull's-eye; and he knows that hitting the bull's-eye consists in causing a bullet to pass through that black circle. He also knows, before he has squeezed the trigger, that if, after he has squeezed it, a hole appears in the black circle, he will…
Aesthetic Vision
The Quest for Beauty
The Language of Morals
Art and the Social Order
Socratic Method and Critical Philosophy
Some Recent Volumes on the Arts
Can we Know the Contents of C. I. Lewis's Mind
The Modernity of Jonathan Edwards
G EORGE BANCROFT wrote, He that would know the workings of the New England Mind in the middle of the eighteenth century, and the throbbings of its heart, must give his days and nights to the study of Jonathan This judgment is assented to, though perhaps with some reservations about the need for burning midnight oil, by most students of our intellectual history. But if the claims Perry Miller makes in his intellectual biography of Edwardsl are jus…
Ducasse on Art and Its Appreciation
An Introduction to Aesthetics
The Language of Morals
Creativity in Art
W HEN a rifleman aims at his target, he knows what he wants to do. He wants to hit the bull's-eye. Before he shoots, he knows what the target is; he knows that the black circle in the center of it is the bull's-eye; and he knows that hitting the bull's-eye consists in causing a bullet to pass through that black circle. He also knows, before he has squeezed the trigger, that if, after he has squeezed it, a hole appears in the black circle, he will…
The Quest for Beauty
Aesthetic Vision
Dr. Munro, Scientific Aesthetics, and Creative Art
The Moral Point of View
Mr. Stolnitz's Questions Concerning Aesthetic Vision
Creativity in the Arts
Kandinsky's Theory of Painting
KANDINSKY'S THEORY OF PAINTING Vincent Tomas Vincent Tomas Search for other works by this author on: Oxford Academic Google Scholar The British Journal of Aesthetics, Volume 9, Issue 1, January 1969, Pages 19–38, https://doi.org/10.1093/bjaesthetics/9.1.19 Published: 01 January 1969
Déclassement sectoriel et rassemblement public
L'article vise à documenter empiriquement quelles étaient les caractéristiques sociales des présents à Nuit Debout place de la République, en s'appuyant sur une enquête collective par questionnaires passés in situ au printemps 2016 place de la République à Paris. Bien qu'issus des classes supérieures de la société française, une bonne partie des présents sont des « créatifs culturels » travaillant dans des secteurs d'emploi en crise. La relative …
Philosophy (12 obras) · Epistemology (9 obras) · Art (7 obras) · Aesthetics (6 obras) · Philosophy (6 obras) · Analytic philosophy (5 obras) · Contemporary philosophy (5 obras) · General interest (4 obras) · Psychology (4 obras) · Aesthetic Perception and Analysis (3 obras)