A Modern Book of Esthetics: An Anthology |
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Pagina 369
He begins the present article by defining the nature of the "esthetic object." It
consists of the "sensuous appearance," not the bare physical object, but the
image as remodeled by imagination and charged with vital meaning. It is the
beautiful ...
He begins the present article by defining the nature of the "esthetic object." It
consists of the "sensuous appearance," not the bare physical object, but the
image as remodeled by imagination and charged with vital meaning. It is the
beautiful ...
Pagina 375
Rather, the cause of esthetic enjoyment is myself, or the ego; exactly the same
ego that feels joyous or pleased "in view" of the object or "opposite" it. This
means first of all that I may not only feel joyful or pleased, but may feel otherwise
...
Rather, the cause of esthetic enjoyment is myself, or the ego; exactly the same
ego that feels joyous or pleased "in view" of the object or "opposite" it. This
means first of all that I may not only feel joyful or pleased, but may feel otherwise
...
Pagina 376
And accordingly, may I not say also this: The esthetic enjoyment has an object
that is at the same time its ground. I can even give to this object a twofold
characterization. First, the object in question is the strong, proud, free ego; not the
ego as ...
And accordingly, may I not say also this: The esthetic enjoyment has an object
that is at the same time its ground. I can even give to this object a twofold
characterization. First, the object in question is the strong, proud, free ego; not the
ego as ...
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Sommario
ART AS SEMBLANCE | 3 |
ART AS BEAUTY | 23 |
ART AS EMOTIONAL EXPRESSION | 51 |
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abstract activity appreciation Aristotle artist attitude beauty become Beethoven Benedetto Croce Bernard Bosanquet called character color complete concept consciousness contemplation creative Criticism Croce definition discourse Distance distinction dream effect elements emotional empathy enjoyment Epic poetry esthetic esthetic education estheticians example existence experience expression external fact feeling function George Santayana give human I. A. Richards ideas illusion imagination imitation impulse individual instinct intellectual intuition intuitive knowledge J. W. N. SULLIVAN Journal of Aesthetics judgment kind knowledge language material meaning mind moral Morris Weitz movement nature object organic organicism painting perceived perception person phantasy Philosophy physical play pleasure poem poet poetic poetry principle produce program music psychological pure reality relation rhythm Roger Fry scientific sensation sense shape spiritual style symbols taste theory things thought tion tragedy true truth uncon unity whole words York