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Pagina xix
obtain a clear outward expression. Now this is to create a form which is beautiful,
for the rhythmical adjustment of part to part and part to whole satisfies our craving
for harmony. In order to communicate his sense of evil the artist must transform ...
obtain a clear outward expression. Now this is to create a form which is beautiful,
for the rhythmical adjustment of part to part and part to whole satisfies our craving
for harmony. In order to communicate his sense of evil the artist must transform ...
Pagina xxii
He agrees with Veron and Tolstoy that the range of esthetic expression includes
feelings of every type, whether positive or negative. But he maintains that beauty
is achieved whenever these feelings are completely expressed. "Expression and
...
He agrees with Veron and Tolstoy that the range of esthetic expression includes
feelings of every type, whether positive or negative. But he maintains that beauty
is achieved whenever these feelings are completely expressed. "Expression and
...
Pagina 174
—The Breviary of Esthetic (191 3; translated 1915) Identity of Intuition and
Expression . . . There is a sure method of distinguishing true intuition, true
representation, from that which is inferior to it: the spiritual fact from the
mechanical, passive, ...
—The Breviary of Esthetic (191 3; translated 1915) Identity of Intuition and
Expression . . . There is a sure method of distinguishing true intuition, true
representation, from that which is inferior to it: the spiritual fact from the
mechanical, passive, ...
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Sommario
VOLUNTARISTIC THEORIES | 53 |
EMOTIONALIST THEORIES | 81 |
HEDONISTIC THEORIES | 115 |
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abstract activity appears appreciation Aristotle artist balance beauty become BENEDETTO CROCE BERNARD BOSANQUET called cause character classicism Clive Bell color conception connection consciousness Croce Dionysian Distance distinction drama effect elements Empathy esthetic emotion esthetic enjoyment esthetic object estheticians existence expression fact feeling fighting games formal give Greek hand human I. A. RICHARDS ideal ideas illusion imagination imitation impulse individual intellectual intuition isolation judgment kind knowledge labor less lines living machine matter means ment merely mind modern moral movement nature organic Oswald Spengler ourselves painting perception philosophy physical picture play pleasure poetry practical present principle production Psychology of Beauty pure RAMON FERNANDEZ reality relations rhythm Roger Fry romanticism satisfaction sculpture sensation sense sensuous social soul spiritual T. E. Hulme THEODOR LIPPS theory things thought tion true truth unity whole words