A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
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Pagina 43
... principles are involved — a principle of form , derived , in our opinion , from the organic world , and the universal objective aspect of all works of art ; and a principle of origination peculiar to the mind of man , and impelling him ...
... principles are involved — a principle of form , derived , in our opinion , from the organic world , and the universal objective aspect of all works of art ; and a principle of origination peculiar to the mind of man , and impelling him ...
Pagina 357
... principles are , I think , very few ; as few , indeed , as six : the principle of organic unity , or unity in variety , as it has been called ; the principle of the theme ; the principle of thematic variation ; balance ; the principle ...
... principles are , I think , very few ; as few , indeed , as six : the principle of organic unity , or unity in variety , as it has been called ; the principle of the theme ; the principle of thematic variation ; balance ; the principle ...
Pagina 559
... principle : the principle of econ- omy . This principle is of course not unknown in other phases of art : but the point is that in mechanical forms it is at all times a controlling one , and it has for its aid the more exact ...
... principle : the principle of econ- omy . This principle is of course not unknown in other phases of art : but the point is that in mechanical forms it is at all times a controlling one , and it has for its aid the more exact ...
Sommario
Intuition | 89 |
Desire and the Unconscious | 127 |
Art and the Unconscious From | 143 |
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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