A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 30
Pagina 4
... distinguished from pure knowing , art is not to be confused with science or philosophy , or even with the " intuition " of Croce and Bergson ( i.e. , the knowing of what is individual ) . As distinguished from practice , art is directed ...
... distinguished from pure knowing , art is not to be confused with science or philosophy , or even with the " intuition " of Croce and Bergson ( i.e. , the knowing of what is individual ) . As distinguished from practice , art is directed ...
Pagina 252
... distinguished from its one - dimensional extension in time , is greater than the relative emphasis on color as such as distinguished from spatial design in painting 252 SENSUOUS AND EXPRESSIVE MATERIALS.
... distinguished from its one - dimensional extension in time , is greater than the relative emphasis on color as such as distinguished from spatial design in painting 252 SENSUOUS AND EXPRESSIVE MATERIALS.
Pagina 475
... distinguished for its allegiance to Aristotelian principles derived from the Poetics , flourished in the seventeenth and eighteenth cen- turies . " Romantic " criticism , which was preponderantly re - creative and which was distinguished ...
... distinguished for its allegiance to Aristotelian principles derived from the Poetics , flourished in the seventeenth and eighteenth cen- turies . " Romantic " criticism , which was preponderantly re - creative and which was distinguished ...
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