A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1979 - 563 pagine |
Dall'interno del libro
Risultati 1-3 di 23
Pagina 32
... perfect use of an im- perfect medium . No artist desires to prove anything . Even things that are true can be proved . No artist has ethical sympathies . An ethical sympathy in an artist is an unpardonable mannerism of style . No artist ...
... perfect use of an im- perfect medium . No artist desires to prove anything . Even things that are true can be proved . No artist has ethical sympathies . An ethical sympathy in an artist is an unpardonable mannerism of style . No artist ...
Pagina 103
... perfect ; he is more perfect . . . . Art here acts as an organic function : we find it present in the most angelic instinct " love " ; we find it as the greatest stimulus of life - thus art is sub- limely utilitarian , even in the fact ...
... perfect ; he is more perfect . . . . Art here acts as an organic function : we find it present in the most angelic instinct " love " ; we find it as the greatest stimulus of life - thus art is sub- limely utilitarian , even in the fact ...
Pagina 201
... perfect ; and if not , it was a failure . In a negative sense this is so . It is obvious that material will not yield its best to the artificer who does it violence , or ignores its caprices . He must not work against the grain of the ...
... perfect ; and if not , it was a failure . In a negative sense this is so . It is obvious that material will not yield its best to the artificer who does it violence , or ignores its caprices . He must not work against the grain of the ...
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A. C. Bradley abstract activity appreciation Aristotle artist artworld beauty become Bernard Bosanquet called character characteristic Clive Bell color common complete concept consciousness contemplation contextualist created creative Criticism dance defined definition Dionysian Distance dream effect elements embodiment emotion esthetic theory esthetic value estheticians Étienne Gilson example existence expression external fact feeling George Dickie Greek human ideas imagination imitation individual intuition JAAC John Dewey judgment kind language look Ludwig Wittgenstein machine material means MELVIN RADER mind modern moral Morris Weitz movement nature novel object organic painter painting perception person phantasy Philosophical physical picture play pleasure poet poetry present principle production psychology pure R. G. Collingwood reality reason relation representation Rudolf Arnheim sculpture sense shape social structure style sublime symbol taste things tion tragedy unity University Press vision visual whole word world vision York