A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
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Pagina 53
... emotion by the standard of resultant action . Art appreciates emotion in and for itself . This view of the essential importance in art of the ex- pression of the emotions is the basis of Tolstoy's marvel- lously original and yet ...
... emotion by the standard of resultant action . Art appreciates emotion in and for itself . This view of the essential importance in art of the ex- pression of the emotions is the basis of Tolstoy's marvel- lously original and yet ...
Pagina 70
... emotions in it . By the same token , emotions are attached to events and objects in their movement . They are not , save in patho- logical instances , private . And even an " objectless " emo- tion demands something beyond itself to ...
... emotions in it . By the same token , emotions are attached to events and objects in their movement . They are not , save in patho- logical instances , private . And even an " objectless " emo- tion demands something beyond itself to ...
Pagina 182
... emotions of the artist put into effective communi- cable form ? Second , are the emotions worth while ? It makes a great difference , he believes , whether the emotions are beneficial or injurious ; for art is the great molder of human ...
... emotions of the artist put into effective communi- cable form ? Second , are the emotions worth while ? It makes a great difference , he believes , whether the emotions are beneficial or injurious ; for art is the great molder of human ...
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