A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1973 - 568 pagine |
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Pagina 77
... pleasure and pain , as such . It will be admitted , indeed , without much difficulty , that a pleasure as a pleasure , any sort of pleasure , is not of itself artistic ; the pleasure of a drink of water that slakes thirst , or a walk in ...
... pleasure and pain , as such . It will be admitted , indeed , without much difficulty , that a pleasure as a pleasure , any sort of pleasure , is not of itself artistic ; the pleasure of a drink of water that slakes thirst , or a walk in ...
Pagina 182
... pleasure ; the organs of the latter must be transparent , they must not intercept our attention , but carry it directly to some external object . The greater dignity and range of esthetic pleasure is thus made very intelligible The soul ...
... pleasure ; the organs of the latter must be transparent , they must not intercept our attention , but carry it directly to some external object . The greater dignity and range of esthetic pleasure is thus made very intelligible The soul ...
Pagina 184
... pleasure of the percep- tion , as an integral part of the conceived thing . Nor is it hard to find the ground of this survival in the sense of beauty of an objectification of feeling elsewhere extinct . Most of the pleasures which ...
... pleasure of the percep- tion , as an integral part of the conceived thing . Nor is it hard to find the ground of this survival in the sense of beauty of an objectification of feeling elsewhere extinct . Most of the pleasures which ...
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