A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1973 - 568 pagine |
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Pagina 397
An Anthology Melvin Miller Rader. AESTHETIC AND NONAESTHETIC ATTITUDES The aesthetic attitude , or the " aesthetic way of looking at the world , " is most commonly opposed to the practical attitude , which is concerned only with the ...
An Anthology Melvin Miller Rader. AESTHETIC AND NONAESTHETIC ATTITUDES The aesthetic attitude , or the " aesthetic way of looking at the world , " is most commonly opposed to the practical attitude , which is concerned only with the ...
Pagina 403
... attitude from other kinds of attitudes . For example , some aestheticians have denied that there is any distinctively aesthetic attitude at all ( J. O. Urmson , " What Makes a Situation Aesthetic ? " PAS , Suppl . Vol . 31 , 1957 ) ...
... attitude from other kinds of attitudes . For example , some aestheticians have denied that there is any distinctively aesthetic attitude at all ( J. O. Urmson , " What Makes a Situation Aesthetic ? " PAS , Suppl . Vol . 31 , 1957 ) ...
Pagina 480
... attitude . The other clings to the past , is retrospective and romantic , bewails or acknowledges the decline , asserts that the will to live is gone - in short , it is the passive attitude . Where economic , social , and political ...
... attitude . The other clings to the past , is retrospective and romantic , bewails or acknowledges the decline , asserts that the will to live is gone - in short , it is the passive attitude . Where economic , social , and political ...
Sommario
THE MEANING OF | 1 |
THE CREATIVE PROCESS | 23 |
EXPRESSION OF EMOTION | 50 |
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abstract Abstract Expressionism activity appear appreciation Aristotle artist attitude avant-garde beauty become called character Clement Greenberg Clive Bell color complete concept concrete consciousness contemplation contextualist critic Cubism culture definition Dionysian Distance distinction distinguished dream elements empathy estheticians example existence experience expression external fact feeling formal function Greek human Ian McHarg ideas imagination imitation important impulse individual intuition John Hospers kind language look Lucien Goldmann material meaning ment mind Morris Weitz movement musical expression nature nude object organic painting pattern perceived perception person philosophy physical picture play pleasure poem poet poetic poetry present principle produced psychology pure reality reason relation rhythm Rudolf Arnheim sculpture sensation sense sensuous shape significant form social sound speak species-being structure style symbol taste theory things tion understand unity vision visual vivid whole WILHELM WORRINGER words world vision