Dall'interno del libro
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Pagina 122
Knowledge kills action; action requires the veils of illusion: that is the doctrine of
Hamlet, not that cheap wisdom of Jack the Dreamer who reflects too much and,
as it were, from an excess of possibilities does not get around to action.
Knowledge kills action; action requires the veils of illusion: that is the doctrine of
Hamlet, not that cheap wisdom of Jack the Dreamer who reflects too much and,
as it were, from an excess of possibilities does not get around to action.
Pagina 155
The same statement holds good of a course of action that is dominantly practical,
that is, one that consists of overt doings. It is possible to be efficient in action and
yet not have a conscious experience. The activity is too automatic to permit of a ...
The same statement holds good of a course of action that is dominantly practical,
that is, one that consists of overt doings. It is possible to be efficient in action and
yet not have a conscious experience. The activity is too automatic to permit of a ...
Pagina 245
not claim to possess all of this kind that is in the poem; for in forgetting the words
you must have lost innumerable details of the action and the characters. And,
when the question of value is raised, I must insist that the action and characters, ...
not claim to possess all of this kind that is in the poem; for in forgetting the words
you must have lost innumerable details of the action and the characters. And,
when the question of value is raised, I must insist that the action and characters, ...
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Sommario
THE MEANING OF ART | 3 |
THE CREATIVE PROCESS | 23 |
EXPRESSION OF EMOTION | 50 |
Copyright | |
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Parole e frasi comuni
abstract activity Apollinian appear appreciation Aristotle artist attitude avant-garde beauty become Benedetto Croce Bernard Bosanquet called character characteristic Clive Bell color complete concept concrete consciousness contemplation criticism defined definition Dionysian Distance distinction distinguished dream effect elements embodiment emotion empathy esthetic estheticians example existence experience expression external fact feeling formal function G. E. M. Anscombe Greek human ideas imagination imitation impulse individual intuition intuitive knowledge John Hospers kind language look Ludwig Wittgenstein machine material meaning ment mind Morris Weitz nature nude object organic painting pattern perceived perception person phantasy philosophical physical picture play pleasure poem poet poetic poetry present principle produced psychological pure R. G. Collingwood reality relation rhythm Rudolf Arnheim sensation sense shape significance social sound structure style symbol taste theory things tion tragedy unity vision visual whole words world vision
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