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The Structure of Aesthetics
Professor Sparshott's book thus places the study of aesthetics on a new footing, since it becomes for the first time possible to grasp the scope of the subject as a whole.
| Autor principal: | |
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| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Toronto :
University of Toronto Press,
1963.
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 007 | cr||||||||nn|n | ||
| 008 | 190413s1963 onc o 00 0 eng d | ||
| 020 | |a 9781487575380 | ||
| 020 | |z 9781487572570 | ||
| 035 | |a (OCoLC)1096536679 | ||
| 040 | |a MdBmJHUP |c MdBmJHUP | ||
| 100 | 1 | |a Sparshott, F. E. | |
| 245 | 1 | 4 | |a The Structure of Aesthetics |
| 264 | 1 | |a Toronto : |b University of Toronto Press, |c 1963. | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2023 | |
| 264 | 4 | |c ©1963. | |
| 300 | |a 1 online resource (486 pages). | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 0 | |a Heritage | |
| 500 | |a The Moment | ||
| 505 | 0 | |a Cover; PREFACE; I. AESTHETICS: WHAT AND WHY?; Aesthetics Defined; Present Purposes; THE CASE AGAINST AESTHETICS; THE CASE FOR AESTHETICS; II. THE APPROACHES TO AESTHETICS; ASPECTS OF ART; The World; Society; The World of Art; The Artist; The Public; Works of Art; THE ARTS; TYPES OF INQUIRER; The Scientific Approach; The Approach from the Arts; The Philosophical Approach; THE ORGANIZATION OF THE SUBJECT; III. "BEAUTY": THE TERM AND ITS RELATIONS; THE CLASSICAL CONCEPT; Beauty and Perfection; Beauty and Function; Beauty and the Senses; THE SCALE OF PLEASING; The Beautiful and the Pretty | |
| 505 | 0 | |a The Beautiful and the GracefulThe Beautiful and the Sublime; Sublimity; The Beautiful and the Pleasant; Unity and Variety; Novelty; A TECHNICAL SENSE OF "BEAUTY"; IV. ART AND NATURE; Isolation; Imitation and Creation; Completeness and Expressiveness; Style; Attention and Interpretation; V. ART: THE CONCEPT AND ITS VALIDITY; The Unity of the Arts; Art and the Arts; Defining Art; Affinities of Arts; The Status of the Concept; RELATIVITY; Generalizations; Hypothetical Universals; Spurious Universals; Prescriptive Universals; VI. ART: GRADES AND KINDS; THE GRADING OF ART; Art and Poesy | |
| 505 | 0 | |a The Fine ArtsArt Proper; Art and Craft; Pure and Applied Art; TRADITIONS; Original and Academic; Metropolitan and Provincial; Esoteric and Popular; Primitive and Sophisticated; Conclusion; THE ARTS; Enumeration; Exclusion; Elimination; Classification; VII. ART: MODES AND GENRES; ATTITUDES; Tragic, Pathetic, Horrific; The Horrible; The Tragic; Pathos and Melancholy; Comedy, Wit, Humour; Irony and Satire; GENRES; Aristotelian Tragedy; The Essentials of Serious Drama; Comedy; APPROACHES; Abstraction and Empathy; Architectural, Romantic, Descriptive; Classical, Romantic, Realistic; SYNDROMES | |
| 505 | 0 | |a The FactCorrelations; Doubts; Causes; Sequences; VIII. HAS ART A FUNCTION?; ART AS FUNCTIONLESS; Art and Pleasure; THE UTILITY OF USELESSNESS; Art and Play; Psychical Distance; Celebration; IX. ART AND THE INDIVIDUAL; SELF-EXPRESSION; The Creative Process; Aesthetic Duty; Genius or Everyman; Self-Knowledge; ART AND ADJUSTMENT; Empathy; Healing; ART AND INSIGHT; Metaphor; The Aesthetic Experience; X. ART AND SOCIETY; REFLECTION; Relativism Again; Abiding Values and Fluctuating Taste; Self-Knowledge; AMELIORATION; ART AND RELIGION; ART AND MORALITY; Censorship; XI. THE ANALYSIS OF ART | |
| 505 | 0 | |a Analysis and CriticismXII. SURFACE AND FORM; AESTHETIC SURFACE; Quality and Texture; Texture; FORM; Form and Order; Specific Forms; XIII. FORM AND CONTENT; "FORM" AND "CONTENT"; XIV. REFERENCE; SYMBOLIZATION; Signs and Symbols; Standing For and Referring To; Icon and Ideogram; The Triangle of Meaning; Representation and Imitation; Expression; Arbitrariness; Emblems; Symbolization: A Broad Sense; XV. REFERENTS; PARTICULARS; Tension; ESSENCES; Reality; Types; Individuals; XVI. EXPRESSION; "Emotion" and "Expression"; THE CONTAGION OF FEELING; Mood and Feeling; THE DISTILLATION OF EXPERIENCE | |
| 520 | |a Professor Sparshott's book thus places the study of aesthetics on a new footing, since it becomes for the first time possible to grasp the scope of the subject as a whole. | ||
| 588 | |a Description based on print version record. | ||
| 650 | 7 | |a Art |x Philosophy. |2 fast |0 (OCoLC)fst00815307 | |
| 650 | 7 | |a Aesthetics. |2 fast |0 (OCoLC)fst00798702 | |
| 650 | 7 | |a PHILOSOPHY |x Aesthetics. |2 bisacsh | |
| 650 | 7 | |a ART |x General. |2 bisacsh | |
| 650 | 6 | |a Art |x Philosophie. | |
| 650 | 0 | |a Art |x Philosophy. | |
| 650 | 0 | |a Aesthetics. | |
| 655 | 7 | |a Electronic books. |2 local | |
| 710 | 2 | |a Project Muse. |e distributor | |
| 830 | 0 | |a Book collections on Project MUSE. | |
| 856 | 4 | 0 | |z Texto completo |u https://projectmuse.uam.elogim.com/book/108783/ |
| 945 | |a Project MUSE - Custom Collection | ||