TAILIEUCHUNG - Book: Aesthetic as Science of Expression and General Linguistic

The aesthetic enjoyment we have in music and in the phantasy-feelings to which it gives rise reflects further, however, a special functional relationship between the sound- Gestalten and the feelings we experience: the nature or quality of a given phantasy-feeling depends at least in part on the character of the music which provokes it. As Mach and James, Ehrenfels and Witasek all in different ways recognised, there is a certain similarity between sound-Gestalten on the one hand and the psychical states to which they give rise, a fact which opens up the much wider. | Aesthetic as Science of Expression and General Linguistic Benedetto Croce Aesthetic as Science of Expression and General Linguistic Table of Contents Aesthetic as Science of Expression and General Benedetto I. INTUITION AND II. INTUITION AND III. ART AND IV. HISTORICISM AND INTELLECTUALISM IN V. ANALOGOUS ERRORS IN HISTORIC AND VI. THEORETIC AND PRACTICAL VII. ANALOGY BETWEEN THE THEORETIC AND THE VIII. EXCLUSION OF OTHER SPIRITUAL FORMS. 36 IX. INDIVISIBILITY OF EXPRESSION INTO MODES OR GRADES AND CRITIQUE OF RHETORIC. 38 X. AESTHETIC FEELINGS AND THE DISTINCTION BETWEEN THE UGLY AND THE BEAUTIFUL. 42 XI. CRITIQUE OF AESTHETIC XII. THE AESTHETIC OF THE SYMPATHETIC AND PSEUDO-AESTHETIC XIII. THE SO-CALLED PHYSICALLY BEAUTIFUL IN NATURE AND ART. 51 XIV. MISTAKES ARISING FROM THE CONFUSION BETWEEN PHYSIC AND AESTHETIC. 56 XV. THE ACTIVITY OF EXTERNALIZATION TECHNIQUE AND THE THEORY OF THE ARTS. 59 XVI. TASTE AND THE REPRODUCTION OF ART .63 XVII. THE HISTORY OF LITERATURE AND ART .68 XVIII. CONCLUSION IDENTITY OF LINGUISTIC AND HISTORICAL SUMMARY. 79 I. AESTHETIC IDEAS IN GRAECO-ROMAN ANTIQUITY .79 II. AESTHETIC IDEAS IN THE MIDDLE AGE AND IN THE III. SEVENTEENTH AND EIGHTEENTH CENTURIES. 84 APPENDIX. 123 i Aesthetic as Science of Expression and General Linguistic Benedetto Croce This page copyright 2003 Blackmask Online. http INTRODUCTION I. INTUITION AND EXPRESSION II. INTUITION AND ART III. ART AND PHILOSOPHY IV. HISTORICISM AND INTELLECTUALISM IN AESTHETIC V. ANALOGOUS ERRORS IN HISTORIC AND LOGIC VI. THEORETIC AND PRACTICAL ACTIVITY VII. ANALOGY BETWEEN THE THEORETIC AND THE PRACTICAL VIII. EXCLUSION OF OTHER SPIRITUAL FORMS IX. INDIVISIBILITY OF EXPRESSION INTO MODES OR GRADES AND CRITIQUE OF RHETORIC X. AESTHETIC FEELINGS AND THE DISTINCTION BETWEEN THE UGLY AND .

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