Dall'interno del libro
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Pagina 80
Certainly, we sometimes amuse ourselves with the reading of some sensational
romance of adventure, where images follow images in the most various and
unexpected way; but we thus enjoy ourselves in moments of fatigue, when we
are ...
Certainly, we sometimes amuse ourselves with the reading of some sensational
romance of adventure, where images follow images in the most various and
unexpected way; but we thus enjoy ourselves in moments of fatigue, when we
are ...
Pagina 192
The suggestion of terror makes us withdraw into ourselves: there with the
supervening consciousness of safety or indifference comes a rebound, and we
have that emotion of detachment and liberation in which the sublime really
consists.
The suggestion of terror makes us withdraw into ourselves: there with the
supervening consciousness of safety or indifference comes a rebound, and we
have that emotion of detachment and liberation in which the sublime really
consists.
Pagina 194
lating ourselves we rise and play a higher personage, feeling the exhilaration of
a life freer and wilder than our own, then the experience is one of sublimity. The
emotion comes not from the situation we observe, but from the powers we ...
lating ourselves we rise and play a higher personage, feeling the exhilaration of
a life freer and wilder than our own, then the experience is one of sublimity. The
emotion comes not from the situation we observe, but from the powers we ...
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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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