A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 85
Pagina xiii
... example , emphasize emotion and imagination when they are speaking of creation ; form when they are referring to the work of art ; and distance or isolation when they are discussing appreciation . " Many unnecessary disputes , " as ...
... example , emphasize emotion and imagination when they are speaking of creation ; form when they are referring to the work of art ; and distance or isolation when they are discussing appreciation . " Many unnecessary disputes , " as ...
Pagina 27
... example , or the ammonite - obey absolutely uniform mathematical laws , due to a varying ratio in the rate of growth of the outer as compared with the inner surface of what would be , if the rates of growth were uniform , a tubular or ...
... example , or the ammonite - obey absolutely uniform mathematical laws , due to a varying ratio in the rate of growth of the outer as compared with the inner surface of what would be , if the rates of growth were uniform , a tubular or ...
Pagina 375
... examples of artists of this sort from the Greek poets to Fielding and Coleridge and Keats . In music , Bach is an obvious example . " Bach was one of the most con- ventional composers who ever existed . He accepted forms and formulas ...
... examples of artists of this sort from the Greek poets to Fielding and Coleridge and Keats . In music , Bach is an obvious example . " Bach was one of the most con- ventional composers who ever existed . He accepted forms and formulas ...
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