A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 33
Pagina 254
... formal nature in the same way from sound and color , these latter become purely formal too . It is the lack of full attention to what we mean by color contrast itself , as distinguished from the spatial presentation of such contrast ...
... formal nature in the same way from sound and color , these latter become purely formal too . It is the lack of full attention to what we mean by color contrast itself , as distinguished from the spatial presentation of such contrast ...
Pagina 313
... formal significance , without which a picture is utterly worthless , is not even the most important quality in a book . If , indeed , I rightly understand what formal beauty is , I believe that you can have good literature with- out it ...
... formal significance , without which a picture is utterly worthless , is not even the most important quality in a book . If , indeed , I rightly understand what formal beauty is , I believe that you can have good literature with- out it ...
Pagina 374
... formal traits . In his analysis of form , the main business of the historian , I believe , is the analysis of concrete forms , not of schemata . But type patterns , as schemata of recurrent formal traits , can highlight generic formal ...
... formal traits . In his analysis of form , the main business of the historian , I believe , is the analysis of concrete forms , not of schemata . But type patterns , as schemata of recurrent formal traits , can highlight generic formal ...
Sommario
Reality and Imagination | 3 |
Having an Experience From Art as | 62 |
Intuition | 89 |
Copyright | |
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abstract activity ANDREW CECIL BRADLEY appears appreciation Aristotle 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 genotype give Gurney HERBERT READ 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 scientific sensations sense sensuous significance social soul sound super-ego taste THEODORE MEYER theory things tion truth unity Vernon Lee whole WILHELM WORRINGER words