A Modern Book of Esthetics: An AnthologyHolt, 1951 - 504 pagine |
Dall'interno del libro
Risultati 1-3 di 23
Pagina 138
... concept from its materials , the thing from our experiences . The qualities which we now conceive to belong to real objects are for the most part images of sight and touch . One of the first classes of effects to be treated as secondary ...
... concept from its materials , the thing from our experiences . The qualities which we now conceive to belong to real objects are for the most part images of sight and touch . One of the first classes of effects to be treated as secondary ...
Pagina 169
... concept of unity , in order to express this distinction between the intuition and imagining , insist- ing that whatever the artistic work , it should be simplex et unum ; or of the allied concept of unity in variety - that is to say ...
... concept of unity , in order to express this distinction between the intuition and imagining , insist- ing that whatever the artistic work , it should be simplex et unum ; or of the allied concept of unity in variety - that is to say ...
Pagina 294
... concept empathy . It constitutes the very meaning of this concept . Empathy is the fact here established , that the object is myself and by the very same token this self of mine is the object . Em- pathy is the fact that the antithesis ...
... concept empathy . It constitutes the very meaning of this concept . Empathy is the fact here established , that the object is myself and by the very same token this self of mine is the object . Em- pathy is the fact that the antithesis ...
Sommario
VOLUNTARISTIC THEORIES | 53 |
EMOTIONALIST THEORIES | 81 |
HEDONISTIC THEORIES | 115 |
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abstract activity appears appreciation artist balance beauty become C. K. OGDEN 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 HUGO MÜNSTERBERG 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