This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for…mehr
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Violet Paget (14 October 1856-13 February 1935) wrote under the pseudonym Vernon Lee. Today, she is well known for her supernatural literature and aesthetic work. She was an early admirer of Walter Pater and authored over a dozen volumes of articles on art, music, and travel. Violet Paget was born in France on October 14, 1856, at Château St Leonard in Boulogne, to British expatriate parents Henry Ferguson Paget and Matilda Lee Hamilton (née Adams). Violet Paget was Eugene Jacob Lee-Hamilton's (1845-1907) half-sister from her mother's first marriage, and she adopted her own pseudonym after his surname.
Inhaltsangabe
Preface and apology 1. The adjective 'beautiful' 2. Contemplative satisfaction 3. Aspects versus things 4. Sensations 5. Perception of relations 6. Elements of shape 7. Facility and difficulty of grasping 8. Subject and object, or, nominative and accusative 9. Empathy (Einfühlung) 10. The movement of lines 11. The character of shapes 12. From the shape to the thing 13. From the thing to the shape 14. The aims of art 15. Attention to shapes 16. Information about things 17. Co-operation of things and shapes 18. Æsthetic responsiveness 19. The storage and transfer of emotion 20. Æsthetic irradiation and purification 21. Conclusion (evolutional) Bibliography Index.
Preface and apology 1. The adjective 'beautiful' 2. Contemplative satisfaction 3. Aspects versus things 4. Sensations 5. Perception of relations 6. Elements of shape 7. Facility and difficulty of grasping 8. Subject and object, or, nominative and accusative 9. Empathy (Einfühlung) 10. The movement of lines 11. The character of shapes 12. From the shape to the thing 13. From the thing to the shape 14. The aims of art 15. Attention to shapes 16. Information about things 17. Co-operation of things and shapes 18. Æsthetic responsiveness 19. The storage and transfer of emotion 20. Æsthetic irradiation and purification 21. Conclusion (evolutional) Bibliography Index.
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