A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1979 - 563 pagine |
Dall'interno del libro
Risultati 1-3 di 82
Pagina 255
... movement assume the whole or even the principal expressive burden . In speaking of musical movement , on the other hand , we do not refer to rhythm alone , but rather to music as a complete and essentially indivisible whole . In this ...
... movement assume the whole or even the principal expressive burden . In speaking of musical movement , on the other hand , we do not refer to rhythm alone , but rather to music as a complete and essentially indivisible whole . In this ...
Pagina 374
... movement the more in- voluntary will be the imitation . Conversely , the more involuntary the action is , the more is the observer wholly in the seen movement . But now , when I am completely engrossed by the contemplation of the movement ...
... movement the more in- voluntary will be the imitation . Conversely , the more involuntary the action is , the more is the observer wholly in the seen movement . But now , when I am completely engrossed by the contemplation of the movement ...
Pagina 375
... movement . There is no other way ; because under the assumed conditions there cannot be any other movement but the observed one as the object of my conscious- ness . In a word , I am now with my feeling of activity entirely and wholly ...
... movement . There is no other way ; because under the assumed conditions there cannot be any other movement but the observed one as the object of my conscious- ness . In a word , I am now with my feeling of activity entirely and wholly ...
Sommario
THE MEANING OF ART PART I THE CREATIVE PROCESS 1 IMITATION AND IMAGINATION | 1 |
Natures Imitation of Art E H Gombrich Truth and the Stereotype | 25 |
EMOTION | 63 |
Copyright | |
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A. C. Bradley abstract activity appreciation Aristotle artist artworld beauty become Bernard Bosanquet called character characteristic Clive Bell color common complete concept consciousness contemplation contextualist created creative Criticism dance defined definition Dionysian Distance elements esthetic experience esthetic object esthetic theory esthetic value estheticians example existence expression fact feeling formal function G. E. M. Anscombe George Dickie Greek human ideas imagination imitation individual intuition JAAC judgment kind language look Lucien Goldmann Ludwig Wittgenstein material means MELVIN RADER mind Morris Weitz movement nature organic painter painting particular perception person Philosophical physical picture play pleasure poetry present principle production psychology pure R. G. Collingwood reality reason relation representation Rudolf Arnheim sculpture sense shape significant form similar social Sophocles structure style sublime symbol taste things tion tragedy unity vision visual whole Wittgenstein word world vision York