A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
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Pagina 382
... distance . " Esthetic distance , he explains , has two aspects : First , there is a negative , inhibitory side - which consists of " a putting of the object out of gear with our practical needs and ends . " Second , there is a positive ...
... distance . " Esthetic distance , he explains , has two aspects : First , there is a negative , inhibitory side - which consists of " a putting of the object out of gear with our practical needs and ends . " Second , there is a positive ...
Pagina 383
... distance . " A somewhat different theory of esthetic distance is for- mulated by the famous Spanish philosopher , JOSÉ ORTEGA Y GASSET ( 1883- ) . Far from accepting Bullough's “ an- tinomy of distance , " he defends the extreme ...
... distance . " A somewhat different theory of esthetic distance is for- mulated by the famous Spanish philosopher , JOSÉ ORTEGA Y GASSET ( 1883- ) . Far from accepting Bullough's “ an- tinomy of distance , " he defends the extreme ...
Pagina 419
... Distance has appeared at intervals , for apparently no other reason than that the great Distance was felt to be essential to its art- character . What is noteworthy and runs counter to many accepted ideas is that such periods were ...
... Distance has appeared at intervals , for apparently no other reason than that the great Distance was felt to be essential to its art- character . What is noteworthy and runs counter to many accepted ideas is that such periods were ...
Sommario
Having an Experience From Art as | 62 |
Intuition | 89 |
Desire and the Unconscious | 127 |
Copyright | |
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abstract activity ANDREW CECIL BRADLEY appears appreciation artist aspect attitude beauty become BENEDETTO CROCE called character CHRISTOPHER CAUDWELL CLIVE BELL color concrete consciousness contemplation contextualist criticism daydreams Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience existence expression external reality fact feeling Freud genotype give Gurney Hanslick HERBERT READ human I. A. RICHARDS ideas images imagination imitation impulse individual instinctive interest intrinsic intuition isolated JOHN HOSPERS judgments kind language latent content live manifest content material means Melvin Rader ment merely mind moral nature object objectified organization ourselves painter painting perception phantasies philosophy physical picture pitch play pleasure poem poet poetic poetry practical present principle produce psychological pure relation rhythm rience scientific sensation sense sensuous social soul sound spatial super-ego theory things tion truth type patterns unity variation Vernon Lee whole WILHELM WORRINGER words