The Dehumanization of Art, and Other Writings on Art and Culture |
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Pagina 69
But the reasons usually given to explain his triumph and his ability to survive seem to me erroneous . ... All this may contribute to the pleasure we draw from Dostoevski ; only it is not sufficient reason .
But the reasons usually given to explain his triumph and his ability to survive seem to me erroneous . ... All this may contribute to the pleasure we draw from Dostoevski ; only it is not sufficient reason .
Pagina 91
But precisely for this reason the average reader does not understand him . In the beginnings of the novel the difference between good novels and poor novels was not so great . As nothing had yet been said they all had to begin with ...
But precisely for this reason the average reader does not understand him . In the beginnings of the novel the difference between good novels and poor novels was not so great . As nothing had yet been said they all had to begin with ...
Pagina 92
Regarding the material I find some reason for optimism in the following consideration . The material proper of the novel is imaginary psychology . Imaginary psychology advances in unison with scientific psychology and psychological ...
Regarding the material I find some reason for optimism in the following consideration . The material proper of the novel is imaginary psychology . Imaginary psychology advances in unison with scientific psychology and psychological ...
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The Dehumanization of Art, and Other Writings on Art and Culture José Ortega y Gasset Visualizzazione estratti - 1956 |
The Dehumanization of Art, and Other Writings on Art and Culture José Ortega y Gasset Visualizzazione estratti - 1956 |
The Dehumanization of Art, and Other Writings on Art and Culture José Ortega y Gasset Visualizzazione estratti - 1956 |
Parole e frasi comuni
action actual aesthetic animal appear artist attention authentic become begins believe body called cause century character classical clear consists contemplation contrary culture definition dehumanization destiny direction distance drama effect elements essential event everything existence fact feel figures follow gifts give Goethe hand happening Hence horizon human ideas important individual inner interest invent Italy less light live look man's masses matter means merely mind move natural never novel novelist object observe opposite ourselves painter painting past perhaps person personages picture point of view possess possible precisely present problems produce pure reader reality realize reason remains seems seen sense sensibility soul space speak stand style substance things thought tion traditional truth turn understand universe vision vital vocation whole young youth