A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
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Pagina v
... Clive Bell , New Republic , Volume 33 ( 1922 ) . Frederick A. Stokes Company : Art , by Clive Bell , 1913 . Yale University Press : The Analysis of Art , by DeWitt H. Parker , 1926 . University of Chicago Press : Art and the Social ...
... Clive Bell , New Republic , Volume 33 ( 1922 ) . Frederick A. Stokes Company : Art , by Clive Bell , 1913 . Yale University Press : The Analysis of Art , by DeWitt H. Parker , 1926 . University of Chicago Press : Art and the Social ...
Pagina 312
... CLIVE BELL ( 1881- ) , many of whose ideas , incidentally , are shared by Roger Fry . ' Bell agrees with Tolstoy that art is the language of emo- tions , but he thinks that there is a peculiarly esthetic emo- tion , quite different from ...
... CLIVE BELL ( 1881- ) , many of whose ideas , incidentally , are shared by Roger Fry . ' Bell agrees with Tolstoy that art is the language of emo- tions , but he thinks that there is a peculiarly esthetic emo- tion , quite different from ...
Pagina 317
An Anthology Melvin Miller Rader. CLIVE BELL SIGNIFICANT FORM I The Esthetic Hypothesis The starting - point for all systems of esthetics must be the personal experience of a peculiar emotion . The ... Clive Bell: Significant Form From Art.
An Anthology Melvin Miller Rader. CLIVE BELL SIGNIFICANT FORM I The Esthetic Hypothesis The starting - point for all systems of esthetics must be the personal experience of a peculiar emotion . The ... Clive Bell: Significant Form From Art.
Sommario
Intuition | 89 |
Desire and the Unconscious | 127 |
Art and the Unconscious From | 143 |
Copyright | |
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abstract activity ANDREW CECIL BRADLEY appears appreciation artist aspect attitude balance beauty become Beethoven BENEDETTO CROCE called character CLIVE BELL color concrete consciousness contemplation contextualist criticism daydreams Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience existence expression external reality fact feeling Freud genotype give Gurney Hanslick human I. A. RICHARDS ideas images imagination imitation impulse individual instinctive interest intrinsic intuition isolated JOHN HOSPERS judgments kind language latent content live manifest content material means Melvin Rader ment merely mind moral nature object objectified organic ourselves painter painting perception phantasies philosophy physical picture pitch play pleasure poem poet poetic poetry practical present principle produce psychological pure relation rhythm rience scientific sensation sense sensuous social soul sound spatial super-ego THEODORE MEYER theory things thought tion truth type patterns unity variation Vernon Lee whole WILHELM WORRINGER words