A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
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Pagina 312
... significant form . " By significant form he means certain combinations of lines , colors , and spatial elements which excite pure esthetic emotion . The repre- sentation of space is necessary to achieve certain kinds of 1 Cf. especially ...
... significant form . " By significant form he means certain combinations of lines , colors , and spatial elements which excite pure esthetic emotion . The repre- sentation of space is necessary to achieve certain kinds of 1 Cf. especially ...
Pagina 313
... significant " ? The significance in question , it would appear , consists of the expression of the artist's emotion , but the only emotion that Bell considers legitimate in art - the peculiarly " esthetic " emotion - is aroused by the ...
... significant " ? The significance in question , it would appear , consists of the expression of the artist's emotion , but the only emotion that Bell considers legitimate in art - the peculiarly " esthetic " emotion - is aroused by the ...
Pagina 322
... significant form , ” but " significant relations of form , " and then try to make the best of two worlds , the esthetic and the metaphysical , by calling these relations " rhythm , " I have no quarrel what- ever . Having made it clear ...
... significant form , ” but " significant relations of form , " and then try to make the best of two worlds , the esthetic and the metaphysical , by calling these relations " rhythm , " I have no quarrel what- ever . Having made it clear ...
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