Determining what constitutes a protectable architectural structure is a variation of the familiar and troublesome question of what constitutes a 'work of art'.
The point is that these other values are not what makes the musical experience an aesthetic experience, a work of art.
Dealing with such remarkable works of art, the book is a work of art in itself.
Within the comparative matrix the world-order itself has become an abstract set of coefficients, according to which the authentic work of art can be produced.
Only the internal harmony of the unique work of art remained valid.
To the onlooker, nothing remotely related to a work of art or performance is there - no evident intrusion, no tangible presence, no action either.
To appreciate art, she writes, is "to appreciate that work of art itself, as distinguished from appreciating something outside it" (62).
Again, the author's criticism of postmodernism lies in the identification - by the latter - of the work of art with its 'meaning'.
