A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1979 - 563 pagine |
Dall'interno del libro
Risultati 1-3 di 58
Pagina 79
... observation that he lays hold of the potential in the real , and takes up what nature has left as a mere outline or sketch in his soul in order to make of it a finished work of art . Altogether different is the kind of observation from ...
... observation that he lays hold of the potential in the real , and takes up what nature has left as a mere outline or sketch in his soul in order to make of it a finished work of art . Altogether different is the kind of observation from ...
Pagina 153
... observing self . If we try to observe this observing self , questioning , for example , whether its observation is biased or impartial , we can do this only by retreating to a further self . It is useless to be exasperated or tantalized ...
... observing self . If we try to observe this observing self , questioning , for example , whether its observation is biased or impartial , we can do this only by retreating to a further self . It is useless to be exasperated or tantalized ...
Pagina 381
An Anthology Melvin Miller Rader. or observations and correlating procedures . Moreover , this way of looking is called " observation " -for what this means in the language of science — a specially controlled way of looking that can ...
An Anthology Melvin Miller Rader. or observations and correlating procedures . Moreover , this way of looking is called " observation " -for what this means in the language of science — a specially controlled way of looking that can ...
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