A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
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Pagina 122
... tragedy represents an individuality unique of its kind . It may be possible to imitate him , but then we shall be passing , whether consciously or not , from the tragic to the comic . No one is like him , because he is like no one . But ...
... tragedy represents an individuality unique of its kind . It may be possible to imitate him , but then we shall be passing , whether consciously or not , from the tragic to the comic . No one is like him , because he is like no one . But ...
Pagina 423
... tragedy is another such confusion , the under - distancing of tragedy's appeal . Tragedy trembles always on the knife- edge of a personal reaction , and sympathy which finds re- lief in tears tends almost always towards a loss of ...
... tragedy is another such confusion , the under - distancing of tragedy's appeal . Tragedy trembles always on the knife- edge of a personal reaction , and sympathy which finds re- lief in tears tends almost always towards a loss of ...
Pagina 517
... tragedy in art . Most of what we have taken to be our greatest art is out- right tragedy or contains tragic portions . To a hedonist this is a mystery . Why in the temple of pleasure do we set up a god of sorrow ? A contextualist ...
... tragedy in art . Most of what we have taken to be our greatest art is out- right tragedy or contains tragic portions . To a hedonist this is a mystery . Why in the temple of pleasure do we set up a god of sorrow ? A contextualist ...
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