The Aesthetic Experience: Its Meaning in a Functional Psychology ...University of Chicago Press, 1906 - 114 Seiten |
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
action activities aesthetic attitude aesthetic categories aesthetic consciousness aesthetic experience aesthetic object aesthetic situation aesthetic theory agricultural animals artistic aspects associationist attention attitude Baldwin beauty become bodily called character co-operation co-ordination comic complex concrete conscious experience construction Critique of Judgment definite degree distinction drama elements emotional ence essential evolutionary biology feeling functional psychology German idealism Grant Allen Greek Groos habits heightening Herbert Spencer Hirn human hunting immediate experience impulse individual inner imitation involved judgment Logical means mediate mental mind modern movement non-aesthetic organic pause of satisfaction philosophical physiological play pleasure problems Psychological Review Psychology of Beauty reactions recognized reconstruction reflective thought reinforce rhythm rhythmic sense serial social sort space arts specific stage statement stimulus substitutions symmetry tensions Theodore Lipps things tion tive type of experience ugly unity various Vernon Lee whole
Beliebte Passagen
Seite 43 - For, don't you mark ? we're made so that we love First when we see them painted, things we have passed Perhaps a hundred times nor cared to see; And so they are better, painted — better to us, Which is the same thing. Art was given for that; God uses us to help each other so, Lending our minds out.
Seite 75 - The remedy would be, never to suffer one's self to have an emotion at a concert without expressing it afterward in some active way. Let the expression be the least thing in the world — speaking genially to one's aunt, or giving up one's seat in a horsecar, if nothing more heroic offers — but let it not fail to take place.
Seite 99 - She dwells with Beauty - Beauty that must die; And Joy, whose hand is ever at his lips Bidding adieu; and aching Pleasure nigh, Turning to Poison while the bee-mouth sips...
Seite 77 - A real work of art destroys in the consciousness of the recipient the separation between himself and the artist, and not that alone, but also between himself and all whose minds receive this work of art. In this freeing of our personality from its separation and isolation, in this uniting of it with others, lies the chief characteristic and the great attractive...
Seite 63 - It is then in the reduction of activities once performed for their own sake, to attitudes now useful simply as supplying a contributory, a reinforcing or checking factor, in some more comprehensive activity, that we have all the conditions for high emotional disturbance. The tendency to large diffusive waves of discharge is present, and the inhibition of this outgoing activity through some perception or idea is also present. The need of somehow reaching an adjustment of these two sides is urgent....
Seite 77 - ... else's, — as if what it expresses were just what he had long been wishing to express.
Seite 80 - Hirn, reached the conclusion that "the artimpulse in its broadest sense must be taken as an outcome of the natural tendency of every feeling-state to manifest itself externally, the effect of such a manifestation being to heighten the pleasure and to relieve the pain." In this fact he found "the primary source of art as an individual impulse," but he also considered art as an essentially social manifestation.
Seite 100 - ... mystical meanings. But there are always two methods of securing harmony: one is to unify all the given elements, and another is to reject and expunge all the elements that refuse to be unified. Unity by inclusion gives us the beautiful; unity by exclusion, opposition, and isolation gives us the sublime.
Seite 94 - The essential character of musical rhythm, as contrasted with the rhythm of both simple sounds and of verse, is just this coordination of a number of rhythms which move side by side. This is the reason for the immense complexity and variety of musical rhythms. The processes check each other and furnish a basis for a precision and elaborateness of rhythmical movement in the individual parts which is quite impossible in a simple rhythm.
Seite 33 - the aesthetically beautiful is that which affords the Maximum of Stimulation with the Minimum of Fatigue or Waste, in processes not directly connected with vital functions.