A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1979 - 563 pagine |
Dall'interno del libro
Risultati 1-3 di 47
Pagina 57
... direct observation . The artist , on the other hand , is one whose imagination , impressionability — in a word , whose personality is so lively and excitable that it spontaneously transforms everything , dyeing them in its own colors ...
... direct observation . The artist , on the other hand , is one whose imagination , impressionability — in a word , whose personality is so lively and excitable that it spontaneously transforms everything , dyeing them in its own colors ...
Pagina 146
... direct way . The esthetic experience - in its limited sense — is thus seen to be inherently connected with the experience of making . The sensory satisfaction of eye and ear , when esthetic , is so because it does not stand by itself ...
... direct way . The esthetic experience - in its limited sense — is thus seen to be inherently connected with the experience of making . The sensory satisfaction of eye and ear , when esthetic , is so because it does not stand by itself ...
Pagina 254
... direct intellectual perception , or intuition , but it does not abstract a concept for discursive thought . Its import is seen in it ; not , like the meaning of a genuine symbol , by means of it but separable from the sign . The symbol ...
... direct intellectual perception , or intuition , but it does not abstract a concept for discursive thought . Its import is seen in it ; not , like the meaning of a genuine symbol , by means of it but separable from the sign . The symbol ...
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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 dream effect elements embodiment emotion esthetic theory esthetic value estheticians Étienne Gilson example existence expression external fact feeling George Dickie Greek human ideas imagination imitation individual intuition JAAC John Dewey judgment kind language look Ludwig Wittgenstein machine material means MELVIN RADER mind modern moral Morris Weitz movement nature novel object organic painter painting perception person phantasy Philosophical physical picture play pleasure poet poetry present principle production psychology pure R. G. Collingwood reality reason relation representation Rudolf Arnheim sculpture sense shape social structure style sublime symbol taste things tion tragedy unity University Press vision visual whole word world vision York