A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
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Pagina 43
... principles are involved - a principle of form , derived , in our opinion , from the organic world , and the universal objective aspect of all works of art ; and a principle of origination peculiar to the mind . of man , and impelling ...
... principles are involved - a principle of form , derived , in our opinion , from the organic world , and the universal objective aspect of all works of art ; and a principle of origination peculiar to the mind . of man , and impelling ...
Pagina 347
... principle or ultimate question of value is touched by them . And apart from that ques- tion , of course , I am not denying the usefulness and neces- sity of the distinction . We cannot dispense with it . To consider separately the ...
... principle or ultimate question of value is touched by them . And apart from that ques- tion , of course , I am not denying the usefulness and neces- sity of the distinction . We cannot dispense with it . To consider separately the ...
Pagina 357
... principles are , I think , very few ; as few , indeed , as six : the principle of organic unity , or unity in variety , as it has been called ; the principle of the theme ; the principle of thematic variation ; balance ; the principle ...
... principles are , I think , very few ; as few , indeed , as six : the principle of organic unity , or unity in variety , as it has been called ; the principle of the theme ; the principle of thematic variation ; balance ; the principle ...
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