A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 40
Pagina 4
... distinguished from pure knowing , art is not to be confused with science or philosophy , or even with the " intuition " of Croce and Bergson ( i.e. , the knowing of what is individual ) . As distinguished from practice , art is directed ...
... distinguished from pure knowing , art is not to be confused with science or philosophy , or even with the " intuition " of Croce and Bergson ( i.e. , the knowing of what is individual ) . As distinguished from practice , art is directed ...
Pagina 382
... distinguished between the scientific and the esthetic attitude . Since the publication of Kant's Critique of Judgment , disinterestedness ( which of course is not uninterestedness ) has been commonly recognized as characteristic of the ...
... distinguished between the scientific and the esthetic attitude . Since the publication of Kant's Critique of Judgment , disinterestedness ( which of course is not uninterestedness ) has been commonly recognized as characteristic of the ...
Pagina 475
... distinguished for its allegiance to Aristotelian principles derived from the Poetics , flourished in the seventeenth and eighteenth cen- turies . " Romantic " criticism , which was preponderantly re - creative and which was distinguished ...
... distinguished for its allegiance to Aristotelian principles derived from the Poetics , flourished in the seventeenth and eighteenth cen- turies . " Romantic " criticism , which was preponderantly re - creative and which was distinguished ...
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