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Pagina 118
no objective reality; hence the critic must depend upon standards which are
relative to his own taste. But he can safeguard his judgments by width of culture,
unfettered sympathy, and alertness to new values. Although taste is not absolute,
...
no objective reality; hence the critic must depend upon standards which are
relative to his own taste. But he can safeguard his judgments by width of culture,
unfettered sympathy, and alertness to new values. Although taste is not absolute,
...
Pagina 131
Consequently we naturally think of the taste of sugar as being pleasant, and Mr.
Herbert Spencer has actually been led to say in some one of his writings, that
sugar is a taste that can never be experienced in any disagreeable phase.
Consequently we naturally think of the taste of sugar as being pleasant, and Mr.
Herbert Spencer has actually been led to say in some one of his writings, that
sugar is a taste that can never be experienced in any disagreeable phase.
Pagina 150
The fine arts have to be studied like any other department of nature; and that
study, with much fatigue and waste of spirit, will yield some pleasures and a
larger view of the world; it will refine a man's taste and enrich it with all sorts of
side-lights, ...
The fine arts have to be studied like any other department of nature; and that
study, with much fatigue and waste of spirit, will yield some pleasures and a
larger view of the world; it will refine a man's taste and enrich it with all sorts of
side-lights, ...
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Sommario
VOLUNTARISTIC THEORIES | 53 |
EMOTIONALIST THEORIES | 81 |
HEDONISTIC THEORIES | 115 |
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abstract activity appears appreciation Aristotle artist balance beauty become BENEDETTO CROCE BERNARD BOSANQUET 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