A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 38
Pagina 459
... contemplation of form . I am only this ideal I , this contemplating I. " ( Lipps , Aesthetik , p . 247. ) Common parlance speaks pertinently of a losing of the self in the contemplation of a work of art . Thus in this sense it cannot be ...
... contemplation of form . I am only this ideal I , this contemplating I. " ( Lipps , Aesthetik , p . 247. ) Common parlance speaks pertinently of a losing of the self in the contemplation of a work of art . Thus in this sense it cannot be ...
Pagina 481
... contemplation , mirror back the feeling which he attempted to express . What that feeling was , however , is something which is known to no one but himself ; and therefore he alone is in a position to perform the test . If the artist is ...
... contemplation , mirror back the feeling which he attempted to express . What that feeling was , however , is something which is known to no one but himself ; and therefore he alone is in a position to perform the test . If the artist is ...
Pagina 498
... contemplation may affect the rest of one's life , and how . The value other than esthetic that esthetic feelings may have depends upon the fact that if , when a feeling has been obtained through esthetic contemplation , the esthetic ...
... contemplation may affect the rest of one's life , and how . The value other than esthetic that esthetic feelings may have depends upon the fact that if , when a feeling has been obtained through esthetic contemplation , the esthetic ...
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