A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
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Pagina 248
... tastes . Loud- ness and softness in sounds , the dimension called their intensity , may be said to be paralleled by ... taste , no doubt , that is specifically characteristic ; what defines it as resinous or fragrant or putrid , or ...
... tastes . Loud- ness and softness in sounds , the dimension called their intensity , may be said to be paralleled by ... taste , no doubt , that is specifically characteristic ; what defines it as resinous or fragrant or putrid , or ...
Pagina 490
... taste , and bad taste . But good taste , I submit , means either my taste , or the taste of people who are to my taste , or the taste of people to whose taste I want to be . There is no objective test of the good- ness or badness of taste ...
... taste , and bad taste . But good taste , I submit , means either my taste , or the taste of people who are to my taste , or the taste of people to whose taste I want to be . There is no objective test of the good- ness or badness of taste ...
Pagina 502
... taste be possessed by one person only , or by a thousand alike , the maxim that de gustibus non est disputandum , holds with regard to it . Is there then no such thing as the refining and educating of taste ? Certainly there is - and ...
... taste be possessed by one person only , or by a thousand alike , the maxim that de gustibus non est disputandum , holds with regard to it . Is there then no such thing as the refining and educating of taste ? Certainly there is - and ...
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