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Pagina 224
CLIVE BELL: Significant Form A. C. BRADLEY: Poetry for Poetry's Sake DE WITT
H. PARKER: The Problem of Esthetic Form HORATIO GREENOUGH: Structure
and Organization MEYER SCHAPIRO: Style The work of art is an organized ...
CLIVE BELL: Significant Form A. C. BRADLEY: Poetry for Poetry's Sake DE WITT
H. PARKER: The Problem of Esthetic Form HORATIO GREENOUGH: Structure
and Organization MEYER SCHAPIRO: Style The work of art is an organized ...
Pagina 228
Significant. Form. I THE ESTHETIC HYPOTHESIS The starting-point for all
systems of esthetics must be the personal experience of a peculiar emotion. The
objects that provoke this emotion we call works of art All sensitive people agree
that ...
Significant. Form. I THE ESTHETIC HYPOTHESIS The starting-point for all
systems of esthetics must be the personal experience of a peculiar emotion. The
objects that provoke this emotion we call works of art All sensitive people agree
that ...
Pagina 235
But the perfect lover, he who can feel the profound significance of form, is raised
above the accidents of time and place. To him the problems of archaeology,
history, and hagiography are impertinent. If the forms of a work are significant its ...
But the perfect lover, he who can feel the profound significance of form, is raised
above the accidents of time and place. To him the problems of archaeology,
history, and hagiography are impertinent. If the forms of a work are significant its ...
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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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