A Modern Book of Esthetics: An AnthologyHolt, 1951 - 504 pagine |
Dall'interno del libro
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Pagina 88
... ment he sets to work to embody in outward form ; it is the real aim of his work , and its possession gives him his claim to the name of artist . Without wishing or even knowing it , he molds the features of nature to his domi- nant ...
... ment he sets to work to embody in outward form ; it is the real aim of his work , and its possession gives him his claim to the name of artist . Without wishing or even knowing it , he molds the features of nature to his domi- nant ...
Pagina 221
... ment . Montaigne is a classicist because the knowledge of himself that he has accumulated is not the same as the particular knowledge that each successive state of mind tries to impose on him . In each of these three men , the conquest ...
... ment . Montaigne is a classicist because the knowledge of himself that he has accumulated is not the same as the particular knowledge that each successive state of mind tries to impose on him . In each of these three men , the conquest ...
Pagina 298
... ment , but merely with the objective bodily movement observed by me . But this does not suffice . My inner activity in this imi- tation is exclusively bound up in a two - fold sense with the observed object . First - the activity which ...
... ment , but merely with the objective bodily movement observed by me . But this does not suffice . My inner activity in this imi- tation is exclusively bound up in a two - fold sense with the observed object . First - the activity which ...
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