The Origins of Art: A Psychological & Sociological Inquiry

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Macmillan and Company, limited, 1900 - Aesthetics - 331 pages
 

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Page 137 - Dusse-je m'engloutir pour l'éternité noire, Je ne te vendrai pas mon ivresse ou mon mal, Je ne livrerai pas ma vie ā tes huées, Je ne danserai pas sur ton tréteau banal Avec tes histrions et tes prostituées.
Page 60 - The more we love life, the more must we also enjoy this sensation, even if it be called into existence by pain. Lessing . . . confesses to this taste in an interesting letter written to Mendelssohn: 'We are agreed in this, my dear friend, that all passions are either vehement cravings or vehement loathings, and also that in every vehement craving or loathing we acquire an increased consciousness of our reality, and that this consciousness cannot but be pleasurable. Consequently, all our passions,...
Page 302 - 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.
Page 131 - I do not say that the art is greatest which imitates best, because perhaps there is some art whose end is to create, and not to imitate. But I say that the art is greatest which conveys to the mind of the spectator, by any means whatsoever, the greatest number of the greatest ideas...
Page 175 - The Melanesian sculptures also, according to Codrington, are chiefly commemorative. It must be observed, however, that according to his own description a sort of religious respect is paid at least to some of them. More undeniably commemorative examples are to be found in New Zealand. Although no attempt to reproduce likenesses is made in these colossal wooden statues, they nevertheless more nearly approach the idea of monumental commemorative portraiture than any similar works of primitive art. The...
Page 51 - In rage, it is notorious how we " work ourselves up " to a climax by repeated outbreaks of expression. Refuse to express a passion, and it dies. Count ten before venting your anger, and its occasion seems ridiculous. Whistling to keep up courage is no mere figure of speech. On the other hand, sit all day in a moping posture, sigh, and reply to everything with a dismal voice, and your melancholy lingers.
Page 73 - The instinctive tendency to express overmastering feeling, to enhance pleasure, and to seek relief from pain, forms the most deep-seated motive of all human activity.
Page 103 - Fiille," l and numbing despair, must inevitably decrease when there is an increase of distinctness in their intellectual elements. The more we can compel ourselves to contemplate with cool and clear attention the causes and manifestations of such highstrung states, the more we are also able to master them. It is a familiar experience to every one that strong fear can be vanquished, if only we can succeed in diverting all our attention to its objective source, and "stare the danger in the face.
Page 60 - Realität bewußt sind, und daß dieses Bewußtsein nicht anders als angenehm sein kann? Folglich sind alle Leidenschaften, auch die allerunangenehmsten, als Leidenschaften angenehm.
Page 7 - Metaphysicians as well as psychologists, Hegelians as well as Darwinians, all agree in declaring that a work or performance, which can be proved to serve any utilitarian, non-aesthetic interest must not be considered as a genuine work of art.

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