The Principles of Art

Front Cover
Oxford University Press, 1958 - Medical - 347 pages
6 Reviews
This treatise on aesthetics begins by showing that the word "art" is used as a name not only for "art proper" but also for certain things which are "art falsely so called." These are craft or skill, magic, and amusement, each of which, by confusion with art proper, generates a false aesthetic theory. In the course of attacking these theories the author criticizes various psychological theories of art, offers a new theory of magic, and reinterprets Plato's so-called "attack on art," showing that it has been entirely misunderstood. Finally, he draws important inferences concerning the position of art in human society.
  

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The principles of art is about the principles of art. principally speaking. also the theories and interpretations.

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Great content

Contents

INTRODUCTION
1
ART AND CRAFT
15
ART AND REPRESENTATION
42
ARTAS MAGIC
57
W ARTAS AMUSEMENT
78
1 As EXPRESSION
105
3 Expression and Individualization III
111
4 Selection and Aesthetic Emotion
115
4 Attention
203
The Modification of Feeling by Consciousness
206
Consciousness and Imagination
211
7 Consciousness and Truth
215
8 Summary
221
LANGUAGE 1 Symbol and Expression
225
2 Psychical Expression
228
3 Imaginative Expression
234

5 The Artist and the Ordinary Man
117
The Curse of the Ivory Tower
119
Expressing Emotion and Betraying Emotion I2 i
121
2 As IMAGINATION 1 The Problem Defined
125
Making and Creating
128
Creation and Imagination
130
4 Imagination and Makebelieve
135
5 The Work of Art as Imaginary Object
139
The Total Imaginative Experience
144
7 Transition to Book II
151
THE THEORY OF IMAGINATION
155
THINKING AND FEELING 1 The Two Contrasted
157
3 Thinking
164
4 The Problem of Imagination
168
SENSATION AND IMAGINATION 1 Terminology
172
Descartes to Locke
174
the Introspection Theory
178
the Relation Theory
179
5 Hume
182
6 Kant
186
7 Illusory Sensa
188
Appearances and Images
190
9 Conclusion
192
IMAGINATION AND CONSCIOUSNESS 1 Imagination as Active
195
The Traditional Confusion of Sense with Imagination
198
3 Impressions and Ideas
202
4 Language and Languages
241
5 Speaker and Hearer
247
Language and Thought
252
7 The Grammatical Analysis of Language
254
8 The Logical Analysis of Language
259
9 Language and Symbolism
268
THE THEORY OF
271
ARTAS LANGUAGE 1 Skeleton of a Theory
273
Art Proper and Art falsely so called
275
3 Good Art and Bad Art
277
ART AND TRUTH 1 Imagination and Truth
286
Art as Theory and Art as Practice
289
3 Art and Intellect
292
THE ARTIST AND THE COMMUNITY 1 Externalization
300
Painting and Seeing
302
The Bodily Work of Art
305
4 The Audience as Understander
308
5 The Audience as Collaborator
311
Aesthetic Individualism
315
Collaboration between Artists
318
8 Collaboration between Author and Performer
320
9 The Artist and his Audience
321
CONCLUSION
325
INDEX
337
Copyright

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About the author (1958)


R. G. Collingwood (1889-1943), philosopher and historian, was Waynflete Professor of Metaphysical Philosophy, Oxford University. One of the most learned men of his generation, he had a remarkable breadth of interest and knowledge and originiality of mind. He is the author of many notable books, including The Idea of History, An Autobiography, Essay on Metaphysics, Essay on Philosophical Method, The Idea of Nature, The New Leviathan, Speculum Mentis: or The Map of KNowledge, and with J. N. L. Myres, Roman Britain and the English Settlements in the Oxford Hitsory of England series.

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