A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 38
Pagina 449
... impulse from which the work of art springs - has been the same at all times , subject only to certain variations which we call stylistic peculiarities , and that , so far as the plastic arts are concerned , the impulse has always been ...
... impulse from which the work of art springs - has been the same at all times , subject only to certain variations which we call stylistic peculiarities , and that , so far as the plastic arts are concerned , the impulse has always been ...
Pagina 498
... impulse , then its value is as usual to be measured in terms of the eventual significance of the impulse . An impulse is a seed of con- duct , and an esthetic feeling is at least a potential seed of impulse ; the terms in which we ...
... impulse , then its value is as usual to be measured in terms of the eventual significance of the impulse . An impulse is a seed of con- duct , and an esthetic feeling is at least a potential seed of impulse ; the terms in which we ...
Pagina 499
... impulse hitherto foreign to him . The other is what we might call the surreptitious implantation of the impulse itself in him , through the transmutation which we are now considering of an esthetic feeling into an impulse , by a shift ...
... impulse hitherto foreign to him . The other is what we might call the surreptitious implantation of the impulse itself in him , through the transmutation which we are now considering of an esthetic feeling into an impulse , by a shift ...
Sommario
Having an Experience From Art as | 62 |
Intuition | 89 |
Desire and the Unconscious | 127 |
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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