Esthetic as Science of Expression and General LinguisticMacmillan and Company, limited, 1922 - 503 pagine |
Dall'interno del libro
Risultati 1-5 di 87
Pagina vii
... knowledge - Its independence with respect to intellectual know- ledge - Intuition and perception - Intuition and the concepts of space and time - Intuition and sensation - Intuition and association -Intuition and representation ...
... knowledge - Its independence with respect to intellectual know- ledge - Intuition and perception - Intuition and the concepts of space and time - Intuition and sensation - Intuition and association -Intuition and representation ...
Pagina viii
... knowledge - Ob- jections and explanations - Criticism of practical judgements or judgements of value - Exclusion of the practical from the æsthetic -Criticism of the theory of the end of art and of the choice of con- tent - Practical ...
... knowledge - Ob- jections and explanations - Criticism of practical judgements or judgements of value - Exclusion of the practical from the æsthetic -Criticism of the theory of the end of art and of the choice of con- tent - Practical ...
Pagina xiii
... knowledge - Intellectualism of Leibniz - Speculations on language — J . C. Wolff - Demand for an organon of inferior knowledge - Alexander Baumgarten : his " Esthetic " -Esthetic as science of sensory consciousness - Criti- cism of ...
... knowledge - Intellectualism of Leibniz - Speculations on language — J . C. Wolff - Demand for an organon of inferior knowledge - Alexander Baumgarten : his " Esthetic " -Esthetic as science of sensory consciousness - Criti- cism of ...
Pagina xxx
... volume of essays promised above was published in 1910 under the title Problems of Esthetic and Con- tributions to the History of Esthetic in Italy . May 1911 . B. C. I THEORY OF ÆSTHETIC I INTUITION AND EXPRESSION KNOWLEDGE has XXX ...
... volume of essays promised above was published in 1910 under the title Problems of Esthetic and Con- tributions to the History of Esthetic in Italy . May 1911 . B. C. I THEORY OF ÆSTHETIC I INTUITION AND EXPRESSION KNOWLEDGE has XXX ...
Pagina xxxi
Benedetto Croce. I THEORY OF ÆSTHETIC I INTUITION AND EXPRESSION KNOWLEDGE has two forms : it.
Benedetto Croce. I THEORY OF ÆSTHETIC I INTUITION AND EXPRESSION KNOWLEDGE has two forms : it.
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Altre edizioni - Visualizza tutto
Aesthetic as Science of Expression and General Linguistic Benedetto Croce Visualizzazione completa - 1922 |
Æsthetic as Science of Expression and General Linguistic Benedetto Croce Visualizzazione completa - 1909 |
Æsthetic as Science of Expression and General Linguistic Benedetto Croce Visualizzazione completa - 1909 |
Parole e frasi comuni
abstract æsthetic activity æsthetic fact æstheticians ancient appearance Aristotle artistic Asth Ästhetik Baumgarten Benedetto Croce called century character cognition colours comic concept concrete consciousness criticism Critique of Judgment Croce Danzel definition distinction doctrine error Esthetic ethical exist expression external faculty feeling figurative arts genius Hegel Herbart Herbartian human ideal ideas imagination imitation impressions individual intellectual intuition intuitive knowledge Italian judgement Kant kinds knowledge language Leibniz Leipzig Linguistic literary logical matter means Menendez y Pelayo metaphysical moral Naples natural beauty object observations painting perfection philo philosophy physical Plato pleasure Plotinus poet Poetics poetry practical principle produced psychological pure Quintilian reason reflexion relation representation Rhetoric Sanctis Schelling Schiller Schopenhauer scientific Scienza nuova sensation sense sensible Solger soul spirit sublime taste theoretical theory things thought tion treatises true truth ugly unity universal Vico Vischer Vorles word writers
Brani popolari
Pagina 1 - Knowledge has two forms: it is either intuitive knowledge or logical knowledge; knowledge obtained through the imagination or knowledge obtained through the intellect; knowledge of the individual or knowledge of the universal; of individual things or of the relations between them: it is in fact, productive either of images or of concepts.
Pagina 206 - The mind, without looking any further, rests satisfied with the agreeableness of the picture and the gaiety of the fancy. And it is a kind of affront to go about to examine it, by the severe rules of truth and good reason; whereby it appears that it consists in something that is not perfectly conformable to them.
Pagina 7 - Here a double meaning is concealed in the word "association." Association is understood, either as memory, mnemonic association, conscious recollection, and in that case the claim to unite in memory elements which are not intuited, distinguished, possessed in some way by the spirit and produced by consciousness, seems inconceivable: or it is understood as association of unconscious elements, in which case we remain in the world of sensation and of nature. But if with certain associationists we speak...
Pagina 9 - Every one can experience the internal illumination which follows upon his success in formulating to himself his impressions and feelings, but only so far as he is able to formulate them. Feelings or impressions, then, pass by means of words from the obscure region of the soul into the clarity of the contemplative spirit.
Pagina 4 - We have intuitions without space and without time: the colour of a sky, the colour of a feeling, a cry of pain and an effort of will, objectified in consciousness: these are intuitions which we possess, and with their making space and time have nothing to do.
Pagina 6 - Some affirm that they have never observed in themselves this "miraculous" activity, as though there were no difference, or only one of quantity, between sweating and thinking, feeling cold and the energy of the will. Others, certainly with greater reason, would unify activity and mechanism in a more general concept, though they are specifically distinct. Let us, however, refrain for the moment from examining if such a final unification be possible, and in what sense, but admitting that the attempt...
Pagina 20 - Not in the least: expression always arises directly from impressions. He who conceives a tragedy puts into a crucible a great quantity, so to say, of impressions: expressions themselves, conceived on other occasions, are fused together with the new in a single mass, in the same way as we can cast into a melting furnace formless pieces of bronze and choicest statuettes. Those choicest statuettes must be melted just like the pieces of bronze, before there can be a new statue. The old expressions must...
Pagina 69 - Here, for instance, it may be asked how an ornament can be joined to expression. Externally ? In that case, either it does not assist the expression and mars it ; or it does form part of it and is not an ornament, but a constituent element of the expression, indivisible and indistinguishable in its unity.
Pagina 3 - ... be observed something more important and more conclusive. Those concepts which are found mingled and fused with the intuitions are no longer concepts, in so far as they are really mingled and fused, for they have lost all independence and autonomy. They have been concepts, but have now become simple elements of intuition. The philosophical maxims placed in the mouth of a personage of tragedy or of comedy, perform there the function, not of concepts, but of characteristics of such personage; in...
Pagina 12 - We have frankly identified intuitive or expressive knowledge with the aesthetic or artistic fact, taking works of art as examples of intuitive knowledge and attributing to them the characteristics of intuition, and vice versa.