A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 48
Pagina 104
... distinction between the intuition and imagining , insist- ing that whatever the artistic work , it should be simplex et unum ; or of the allied concept of unity in variety — that is to say , the multiple images were to find their common ...
... distinction between the intuition and imagining , insist- ing that whatever the artistic work , it should be simplex et unum ; or of the allied concept of unity in variety — that is to say , the multiple images were to find their common ...
Pagina 200
... distinction between them is important . One factor of this distinction is that while esthetic judgments are mainly positive , that is , perceptions of good , moral judg- ments are mainly and fundamentally negative , or percep- tions of ...
... distinction between them is important . One factor of this distinction is that while esthetic judgments are mainly positive , that is , perceptions of good , moral judg- ments are mainly and fundamentally negative , or percep- tions of ...
Pagina 563
... distinction . In money - ridden societies , where men play with poker chips instead of with economic and esthetic realities , every attempt is made to disguise the fact that the machine has achieved potentially a new collec- tive ...
... distinction . In money - ridden societies , where men play with poker chips instead of with economic and esthetic realities , every attempt is made to disguise the fact that the machine has achieved potentially a new collec- tive ...
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