A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1973 - 568 pagine |
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Pagina 123
... reference , like subsequent references to the same work , is Nietzsche's own and refers to the edition of 1873 edited by Julius Frauenstädt - still one of the standard editions of Schopenhauer's works . 8. Principle of individuation . 9 ...
... reference , like subsequent references to the same work , is Nietzsche's own and refers to the edition of 1873 edited by Julius Frauenstädt - still one of the standard editions of Schopenhauer's works . 8. Principle of individuation . 9 ...
Pagina 282
... reference , and in the moment of esthetic vision , any sense of reference is superseded by the immediate reality of the esthetic apparition . Since the word " symbol " is almost always used to denote reference , the work of art is a ...
... reference , and in the moment of esthetic vision , any sense of reference is superseded by the immediate reality of the esthetic apparition . Since the word " symbol " is almost always used to denote reference , the work of art is a ...
Pagina 303
... reference are necessary ; suffice it to say that each new develop- ment in music has created , on a convincing psychological basis , its own points of reference . Without them , music would hardly be possible . One of the most vivid and ...
... reference are necessary ; suffice it to say that each new develop- ment in music has created , on a convincing psychological basis , its own points of reference . Without them , music would hardly be possible . One of the most vivid and ...
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