A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1973 - 568 pagine |
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Pagina 127
... play very seriously and expends a great deal of emotion on it . The opposite of play is not serious occupation but- reality . Notwithstanding the large affective cathexis1 of his play - world , the child distinguishes it perfectly from ...
... play very seriously and expends a great deal of emotion on it . The opposite of play is not serious occupation but- reality . Notwithstanding the large affective cathexis1 of his play - world , the child distinguishes it perfectly from ...
Pagina 468
... play , to aesthetic play ; and before she soars , in the sublime freedom of beauty , beyond the fetters of ends and purposes altogether , she makes some approach to this independence , at least from afar , in that kind of free activity ...
... play , to aesthetic play ; and before she soars , in the sublime freedom of beauty , beyond the fetters of ends and purposes altogether , she makes some approach to this independence , at least from afar , in that kind of free activity ...
Pagina 462
... play , to aesthetic play ; and before she soars , in the sublime freedom of beauty , beyond the fetters of ends and purposes altogether , she makes some approach to this independence , at least from afar , in that kind of free activity ...
... play , to aesthetic play ; and before she soars , in the sublime freedom of beauty , beyond the fetters of ends and purposes altogether , she makes some approach to this independence , at least from afar , in that kind of free activity ...
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