A Modern Book of Esthetics: An Anthology |
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Pagina 55
CHAPTER II INTRODUCTORY NOTE One of the first persons to challenge the theory of the disinterestedness of art , as it finds expression , for example , in the play - theory of Schiller and Lipps , was FRIEDRICH NIETZSCHE ( 1844-1900 ) .
CHAPTER II INTRODUCTORY NOTE One of the first persons to challenge the theory of the disinterestedness of art , as it finds expression , for example , in the play - theory of Schiller and Lipps , was FRIEDRICH NIETZSCHE ( 1844-1900 ) .
Pagina 243
For example , we do not know what a musical theme is like until we have heard it entire ; building it up is one thing ; then , having got it , it is another thing to modulate , invert , and vary it . The same is true of a line .
For example , we do not know what a musical theme is like until we have heard it entire ; building it up is one thing ; then , having got it , it is another thing to modulate , invert , and vary it . The same is true of a line .
Pagina 469
Art is a special example . What we want is to draw out habits of esthetic apprehension . According to the metaphysical doctrine which I have been developing , to do so is to increase the depth of individuality .
Art is a special example . What we want is to draw out habits of esthetic apprehension . According to the metaphysical doctrine which I have been developing , to do so is to increase the depth of individuality .
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Sommario
VOLUNTARISTIC THEORIES | 53 |
ART AS THE EXPRESSION | 81 |
THEORIES OF INTUITION AND TECH | 153 |
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abstract action activity actual appears appreciation artist balance beauty become body bring called cause character classicism color complete connection consciousness contemplation created desire direct Distance distinction effect elements emotion enjoyment esthetic existence experience expression fact feeling follow force formal give hand human idea imagination imitation important impulses individual interest intuition kind knowledge less lines living look machine material matter means ment merely mind move movement nature necessary never object once organic ourselves painting particular perception physical picture play pleasure possess possible practical present principle production pure question reality reason relations represented result rising seems sense significance social soul speak spiritual theory things thought tion true truth understand unity whole