A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 67
Pagina 22
... particular or " specialized " shape , and that shape is the form of the work of art . I have said that the work of art " takes on " its shape , but actually the shape is given to it by a particular person , and that person we call an ...
... particular or " specialized " shape , and that shape is the form of the work of art . I have said that the work of art " takes on " its shape , but actually the shape is given to it by a particular person , and that person we call an ...
Pagina 247
... particular pitch ; and to be at a particular pitch is to be at a point fixed in the single series of all the pitches that there are . The important fact for esthetics is not merely that a musical sound has its particular place in the ...
... particular pitch ; and to be at a particular pitch is to be at a point fixed in the single series of all the pitches that there are . The important fact for esthetics is not merely that a musical sound has its particular place in the ...
Pagina 463
... particular present acts of raising or rising involved in our looking at that mountain , and it is this general idea of rising , i.e. , of upward move- ment , which gets transferred to the mountain along with our own particular present ...
... particular present acts of raising or rising involved in our looking at that mountain , and it is this general idea of rising , i.e. , of upward move- ment , which gets transferred to the mountain along with our own particular present ...
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