A modern book of esthetics: an anthology |
Dall'interno del libro
Risultati 1-3 di 91
Pagina 117
CHAPTER IV INTRODUCTORY NOTE In contrast to Veron and Tolstoy, the
writers to be considered in this chapter tend to regard the creation of beauty as
the aim of the artist, and pleasure as the fundamental ingredient of beauty and art
.
CHAPTER IV INTRODUCTORY NOTE In contrast to Veron and Tolstoy, the
writers to be considered in this chapter tend to regard the creation of beauty as
the aim of the artist, and pleasure as the fundamental ingredient of beauty and art
.
Pagina 130
and esthetic pleasures be determined by the permanence of those which are
called esthetic. But this can scarcely be true, for pleasures are notably
evanescent, and we all recognize this fact. From childhood to mature age, we are
found ...
and esthetic pleasures be determined by the permanence of those which are
called esthetic. But this can scarcely be true, for pleasures are notably
evanescent, and we all recognize this fact. From childhood to mature age, we are
found ...
Pagina 148
Readers of Mr. Marshall's Pain, Pleasure, and JEsthetics will remember his
theory concerning the physiological basis of pleasure. Pleasure, he thinks, is
never a separable datum but always a quality attaching to a sensation that yields
other ...
Readers of Mr. Marshall's Pain, Pleasure, and JEsthetics will remember his
theory concerning the physiological basis of pleasure. Pleasure, he thinks, is
never a separable datum but always a quality attaching to a sensation that yields
other ...
Cosa dicono le persone - Scrivi una recensione
Nessuna recensione trovata nei soliti posti.
Sommario
VOLUNTARISTIC THEORIES | 53 |
EMOTIONALIST THEORIES | 81 |
HEDONISTIC THEORIES | 115 |
Copyright | |
11 sezioni non visualizzate
Altre edizioni - Visualizza tutto
Parole e frasi comuni
abstract activity appears appreciation artist balance beauty become BENEDETTO CROCE 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 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