Aesthetic as Science of Expression and General LinguisticMacmillan and Company, limited, 1922 - 503 pagine |
Dall'interno del libro
Risultati 1-5 di 79
Pagina 5
... principles , categories and functions , one observes an effort to unite them and to regard them in a different manner from that in which these categories are generally conceived . Some limit intuition to the sole category of spatiality ...
... principles , categories and functions , one observes an effort to unite them and to regard them in a different manner from that in which these categories are generally conceived . Some limit intuition to the sole category of spatiality ...
Pagina 29
... principle of verisimilitude and of prob- ability in fact dominates all historical criticism . Exam- ination of sources and authorities is devoted to establishing the most credible evidence . And what is the most credible evidence , save ...
... principle of verisimilitude and of prob- ability in fact dominates all historical criticism . Exam- ination of sources and authorities is devoted to establishing the most credible evidence . And what is the most credible evidence , save ...
Pagina 41
... principle of authority , of the ipse dixit , is an Esthetic intrusion by historicity into the domains of science and intrusions into Logic . philosophy which has dominated the schools and substi- tutes for introspection and ...
... principle of authority , of the ipse dixit , is an Esthetic intrusion by historicity into the domains of science and intrusions into Logic . philosophy which has dominated the schools and substi- tutes for introspection and ...
Pagina 44
... principle of contradiction itself is at bottom nothing but the aesthetic principle of coherence . It may be maintained that it is possible to write and to speak ex- ceedingly well , as it is also possible to reason well though starting ...
... principle of contradiction itself is at bottom nothing but the aesthetic principle of coherence . It may be maintained that it is possible to write and to speak ex- ceedingly well , as it is also possible to reason well though starting ...
Pagina 56
... principles of morality may be re- flected and always in some way is reflected in practical life . One can only speak roughly and unscientifically of certain truths as pure and of others as applied . sense . The same knowledge that is ...
... principles of morality may be re- flected and always in some way is reflected in practical life . One can only speak roughly and unscientifically of certain truths as pure and of others as applied . sense . The same knowledge that is ...
Sommario
235 | |
257 | |
272 | |
283 | |
304 | |
312 | |
324 | |
334 | |
67 | |
74 | |
82 | |
94 | |
104 | |
111 | |
118 | |
128 | |
140 | |
155 | |
175 | |
189 | |
204 | |
220 | |
227 | |
350 | |
358 | |
370 | |
388 | |
404 | |
409 | |
419 | |
435 | |
442 | |
450 | |
459 | |
470 | |
491 | |
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 amongst appearance Aristotle artistic Asth Ästhetik Baumgarten called century character cognition colours comic concept concrete connexion consciousness criticism Critique of Judgment Croce Danzel distinct doctrine elements essay Esthetic existence expression faculty feeling figurative arts Francesco de Sanctis genius Giambattista Vico Hartmann Hegel Herbart Herbartian human ideal ideas imagination imitation individual intellectual intuition intuitive knowledge Italian Italy judgement Kant language Leibniz Leipzig Linguistic literary logical matter means metaphysical moral Naples natural beauty object perfection philo philosophy physical Plato pleasing pleasure poet poetic poetry principle production psychological pure reason reflexion representation Rhetoric Saggi Sanctis Schelling Schiller Schleiermacher Schopenhauer scientific Scienza nuova sec sensation sense sensible Solger soul spirit sublime taste theoretical theory things thought tion treatises true truth ugly unity universal Vico Vischer Vorles Winckelmann words writers Zimmermann
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.