A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
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Risultati 1-3 di 86
Pagina 42
... object . " There is a growing sense , " he then wrote , " that here , if anywhere , we may find that bedrock upon which the whole superstructure of esthetic experience -of appreciation as well as artistic production - ultimately rests ...
... object . " There is a growing sense , " he then wrote , " that here , if anywhere , we may find that bedrock upon which the whole superstructure of esthetic experience -of appreciation as well as artistic production - ultimately rests ...
Pagina 382
... object , but Münsterberg has greatly enriched and extended this earlier account . Like Richards and Charles Morris ( see Chapter V ) , he has also distinguished between the scientific and the esthetic attitude . Since the publication of ...
... object , but Münsterberg has greatly enriched and extended this earlier account . Like Richards and Charles Morris ( see Chapter V ) , he has also distinguished between the scientific and the esthetic attitude . Since the publication of ...
Pagina 445
... object may be so conditioned that it is performed by me not without friction , not without inner opposition . " If I ... object . The former is called by Lipps positive empathy , the latter negative empathy . While this general ...
... object may be so conditioned that it is performed by me not without friction , not without inner opposition . " If I ... object . The former is called by Lipps positive empathy , the latter negative empathy . While this general ...
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