A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 78
Pagina 66
... action that is dominantly practical , that is , one that consists of overt doings . It is possible to be efficient in action and yet not have a conscious experience . The activity is too automatic to permit of a sense of what it is ...
... action that is dominantly practical , that is , one that consists of overt doings . It is possible to be efficient in action and yet not have a conscious experience . The activity is too automatic to permit of a sense of what it is ...
Pagina 107
... action ? And what is the value of this general action if it be not an action of the spirit of the author ? The secular disputes concerning dra- matic unity are interesting in this connection ; they are first applied to the unity of " action ...
... action ? And what is the value of this general action if it be not an action of the spirit of the author ? The secular disputes concerning dra- matic unity are interesting in this connection ; they are first applied to the unity of " action ...
Pagina 348
... action and the characters . And , when the question of value is raised , I must insist that the action and characters , as you conceive them , are not in Hamlet at all . If they are , point them out . You cannot do it . What you find at ...
... action and the characters . And , when the question of value is raised , I must insist that the action and characters , as you conceive them , are not in Hamlet at all . If they are , point them out . You cannot do it . What you find at ...
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