A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
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Pagina 382
... distance . " Esthetic distance , he explains , has two aspects : First , there is a negative , inhibitory side - which consists of " a putting of the object out of gear with our practical needs and ends . " Second , there is a positive ...
... distance . " Esthetic distance , he explains , has two aspects : First , there is a negative , inhibitory side - which consists of " a putting of the object out of gear with our practical needs and ends . " Second , there is a positive ...
Pagina 382
... distance . " Esthetic distance , he explains , has two aspects : First , there is a negative , inhibitory side - which consists of " a putting of the object out of gear with our practical needs and ends . " Second , there is a positive ...
... distance . " Esthetic distance , he explains , has two aspects : First , there is a negative , inhibitory side - which consists of " a putting of the object out of gear with our practical needs and ends . " Second , there is a positive ...
Pagina 410
... Distance , whether due to the one or the other , means loss of esthetic appreciation . In short , Distance may be said to be variable both accord- ing to the distancing - power of the individual , and accord- ing to the character of the ...
... Distance , whether due to the one or the other , means loss of esthetic appreciation . In short , Distance may be said to be variable both accord- ing to the distancing - power of the individual , and accord- ing to the character of the ...
Sommario
Reality and Imagination | 3 |
Having an Experience From Art as | 62 |
Intuition | 89 |
Copyright | |
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abstract activity appears appreciation artist aspect attitude beauty become called character Clive Bell color concrete consciousness contemplation contextualist criticism discourse Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience esthetic value existence expression external reality fact feeling give Gurney HERBERT READ HUGO MÜNSTERBERG human I. A. Richards ideas images imagination imitation impulse individual instinctive interest intrinsic intuition isolationist JOHN HOSPERS judgment kind language latent content live machine manifest content material means Melvin Rader ment merely mind moral nature object objectified organic painting patterns perceived perception person phantasies Philosophy physical picture play pleasure poem poet poetic poetry practical present principle produce psychological pure question relation rhythm rience ROGER FRY scientific sensations sense sensuous significance social soul sound super-ego taste THEODORE MEYER theory things tion truth unity Vernon Lee whole WILHELM WORRINGER words