A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 64
Pagina 318
... Significant Form " ; and " Significant Form " is the one quality common to all works of visual art . At this point it may be objected that I am making es- thetics a purely subjective business , since my only data are personal ...
... Significant Form " ; and " Significant Form " is the one quality common to all works of visual art . At this point it may be objected that I am making es- thetics a purely subjective business , since my only data are personal ...
Pagina 322
... significant form , ” but " significant relations of form , " and then try to make the best of two worlds , the esthetic and the metaphysical , by calling these relations " rhythm , " I have no quarrel what- ever . Having made it clear ...
... significant form , ” but " significant relations of form , " and then try to make the best of two worlds , the esthetic and the metaphysical , by calling these relations " rhythm , " I have no quarrel what- ever . Having made it clear ...
Pagina 330
... significance of form , is raised above the accidents of time and place . To him the prob- lems of archaeology , history , and hagiography are im- pertinent . If the forms of a work are significant its prov- enance is irrelevant . Before ...
... significance of form , is raised above the accidents of time and place . To him the prob- lems of archaeology , history , and hagiography are im- pertinent . If the forms of a work are significant its prov- enance is irrelevant . Before ...
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