A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 83
Pagina 22
... means something like " shape " ; it means that we give shape to a number of people for a particular purpose . But we go further and say , for exam- ple , that ice " forms " over a pond , or that dewdrops " form " on the twig of a tree ...
... means something like " shape " ; it means that we give shape to a number of people for a particular purpose . But we go further and say , for exam- ple , that ice " forms " over a pond , or that dewdrops " form " on the twig of a tree ...
Pagina 186
... means to pleasure , and to consider it as one of the conditions of human life . View- ing it in this way , we cannot fail to observe that art is one of the means of intercourse between man and man . Speech , transmitting the thoughts ...
... means to pleasure , and to consider it as one of the conditions of human life . View- ing it in this way , we cannot fail to observe that art is one of the means of intercourse between man and man . Speech , transmitting the thoughts ...
Pagina 332
... means , but for ob- jects seen as pure forms - that is , as ends in themselves . He did not feel emotion for a chair as a means to physical well- being , nor as an object associated with the intimate life of family , nor as the place ...
... means , but for ob- jects seen as pure forms - that is , as ends in themselves . He did not feel emotion for a chair as a means to physical well- being , nor as an object associated with the intimate life of family , nor as the place ...
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