The Psychology of BeautyHoughton, Mifflin, 1905 - 286 էջ |
From inside the book
Արդյունքներ 100–ի 1-ից 5-ը:
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... æsthetic production and enjoyment . Ex- periments with the æsthetic elements ; investiga- tions into the physiological psychology of æsthetic reactions ; studies in the genesis and development of art forms , have multiplied apace . But ...
... æsthetic production and enjoyment . Ex- periments with the æsthetic elements ; investiga- tions into the physiological psychology of æsthetic reactions ; studies in the genesis and development of art forms , have multiplied apace . But ...
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... æsthetic theory , and hence to address itself to the student of æsthetics as well as to the general reader . The chapter on the Nature of Beauty , indeed , will doubtless be found by the latter somewhat technical , and should be omitted ...
... æsthetic theory , and hence to address itself to the student of æsthetics as well as to the general reader . The chapter on the Nature of Beauty , indeed , will doubtless be found by the latter somewhat technical , and should be omitted ...
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... æsthetic interest and inquiry , and to Professor Hugo Münsterberg of Harvard University , whose philosophical theories and scientific guidance have largely influenced my thought . WELLESLEY COLLEGE , April 24 , 1905 . CONTENTS I ...
... æsthetic interest and inquiry , and to Professor Hugo Münsterberg of Harvard University , whose philosophical theories and scientific guidance have largely influenced my thought . WELLESLEY COLLEGE , April 24 , 1905 . CONTENTS I ...
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... æsthetic hour . The strong- hold of the scientist , on the other hand , is the doc- trine of literary evolution , and his aim is to show the history of literature as the history of a process , - and the work of literature as a product ; to.
... æsthetic hour . The strong- hold of the scientist , on the other hand , is the doc- trine of literary evolution , and his aim is to show the history of literature as the history of a process , - and the work of literature as a product ; to.
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... three principles of classification , scientific , moral , and æsthetic , as three principles by which he estimates the excellence of a work . His own examples , in- deed , prove that to him a thing is already CRITICISM AND ESTHETICS 7.
... three principles of classification , scientific , moral , and æsthetic , as three principles by which he estimates the excellence of a work . His own examples , in- deed , prove that to him a thing is already CRITICISM AND ESTHETICS 7.
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Common terms and phrases
action aesthetic æsthetic emotion æsthetic experience æsthetic feeling æsthetic pleasure analysis Aristotle attention attitude balance basilar membrane beauty of literature belongs centre clear color combination complementary color complete composition consciousness consonance criticism definition of beauty demands drama ecstasy effect elements equilibrium essential excitement explanation expression fact favorable stimulation felt function Giorgione give given harmony Hegel idea ideal imitation Katharsis less literary logical Madame Guyon Madonna means Meister Eckhart melody ment minor second moral motor impulses movement Nature of Beauty ness organism perfect perfect moment personality physiological picture pity and fear play possible principle psychological PSYCHOLOGY OF BEAUTY psychophysical pyramid question relation religious ecstasy Rembrandt reproduction rhythm rhythmical self-completeness sensations sense Sistine Madonna suggestion symmetry tendency theory thought tion tonality tone tragedy tragic true unity vista visual form vivid whole words
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Էջ 232 - Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative ; through pity and fear effecting the proper purgation of these emotions.
Էջ 254 - Spirit overhead will look humanely malign, and cast an oblique light on them, followed by volleys of silvery laughter.
Էջ 233 - ... to temper and reduce them to just measure with a kind of delight stirred up by reading or seeing those passions well imitated. Nor is Nature wanting in her own effects to make good his assertion: for so in physic things of melancholic hue and quality are used against melancholy, sour against sour, salt to remove salt humours.
Էջ 63 - And up and down, and in and out, He turned; but still the pigtail stout Hung steadily behind him. And though his efforts never slack, And though he twist, and...
Էջ 226 - NEVER the time and the place And the loved one all together ! This path— how soft to pace ! This May — what magic weather ! Where is the loved one's face? In a dream that loved one's face meets mine, But the house is narrow, the place is bleak Where, outside, rain and wind combine With a furtive ear, if I strive to speak, With a hostile eye at my flushing...
Էջ 254 - Men's future upon earth does not attract it; their honesty and shapeliness in the present does; and whenever they wax out of proportion, overblown, affected, pretentious, bombastical, hypocritical, pedantic, fantastically delicate; whenever it sees them selfdeceived or hoodwinked, given to run riot in idolatries, drifting into vanities, congregating in absurdities, planning shortsightedly, plotting dementedly...
Էջ 212 - The one word for the one thing, the one thought, amid the multitude of words, terms, that might just do: the problem of style was there!— the unique word, phrase, sentence, paragraph, essay, or song, absolutely proper to the single mental presentation or vision within.
Էջ 61 - MY HEART aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk...
Էջ 211 - All the laws of good writing aim at a similar unity or identity of the mind in all the processes by which the word . is associated to its import. The term is right, and has its essential beauty, when it becomes, in a manner, what it signifies, as with the names of simple sensations.
Էջ 233 - TRAGEDY, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems ; therefore said by Aristotle to be of power, by raising pity and fear, or terror, to purge the mind of those and such like passions, that is, to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated.