A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 94
Pagina 299
... give us what science gives , so science cannot give us what they give . If a conflict which should never have arisen extends much further , a moral chaos such as man has never experi- enced may be expected . Our protection , as Matthew ...
... give us what science gives , so science cannot give us what they give . If a conflict which should never have arisen extends much further , a moral chaos such as man has never experi- enced may be expected . Our protection , as Matthew ...
Pagina 394
... give us the answer . Let it express itself , give to it , too , a chance to communicate to us all that it can bring to our mind , to show us to its best advantage every one of its features , to tell us its own story , to bring to the ...
... give us the answer . Let it express itself , give to it , too , a chance to communicate to us all that it can bring to our mind , to show us to its best advantage every one of its features , to tell us its own story , to bring to the ...
Pagina 492
... give to the general fact that unsupported objects do fall , and at a certain rate ; but it is not a reason , or cause , or proof of that fact . To say that something always happens , is not to give any reason why it ever does . There ...
... give to the general fact that unsupported objects do fall , and at a certain rate ; but it is not a reason , or cause , or proof of that fact . To say that something always happens , is not to give any reason why it ever does . There ...
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