A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1979 - 563 pagine |
Dall'interno del libro
Risultati 1-3 di 71
Pagina 284
... significant " ? The significance in question , it would appear , consists of the expression of the artist's emotion , but the only emotion that Bell considers legitimate in art — the peculiarly " esthetic " emotion — is aroused by the ...
... significant " ? The significance in question , it would appear , consists of the expression of the artist's emotion , but the only emotion that Bell considers legitimate in art — the peculiarly " esthetic " emotion — is aroused by the ...
Pagina 295
... Significant form stands charged with the power to provoke esthetic emotion in any one capable of feeling it . The ... significant form . It moves us , but it does not move us esthetically . It is tempting to explain the difference ...
... Significant form stands charged with the power to provoke esthetic emotion in any one capable of feeling it . The ... significant form . It moves us , but it does not move us esthetically . It is tempting to explain the difference ...
Pagina 436
... significant form ; and anything which is not art has no such form . To this the Emotionalist replies that the truly essential property of art has been left out . Tolstoy , Ducasse , or any of the advocates of this theory , find that the ...
... significant form ; and anything which is not art has no such form . To this the Emotionalist replies that the truly essential property of art has been left out . Tolstoy , Ducasse , or any of the advocates of this theory , find that the ...
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