The Sense of Beauty: Being the Outline of Aesthetic TheoryCourier Corporation, 01.01.1955 - 275 Seiten It is remarkably appropriate that this work on aesthetics should have been written by George Santayana, who is probably the most brilliant philosophic writer and the philosopher with the strongest sense of beauty since Plato. It is not a dry metaphysical treatise, as works on aesthetics so often are, but is itself a fascinating document: as much a revelation of the beauty of language as of the concept of beauty. |
Inhalt
THE NATURE OF BEAUTY | 11 |
Preference is ultimately irrational | 13 |
Contrast between moral and æsthetic | 16 |
Work and play | 17 |
All values are in one sense æsthetic | 19 |
Æsthetic consecration of general principles | 21 |
Æsthetic and physical pleasure | 23 |
The differentia of æsthetic pleasure not its disinterestedness | 24 |
Illusion of infinite perfection | 90 |
Organized nature the source of apperceptive forms example of sculpture | 94 |
Utility the principle of organization in nature | 96 |
The relation of utility to beauty | 97 |
Utility the principle of organization in the arts | 99 |
Form and adventitious ornament | 101 |
Form in words | 103 |
Syntactical form | 105 |
The differentia of æsthetic pleasure not its universality | 26 |
The differetia of æsthetic pleasure its objectification | 28 |
The definition of beauty | 31 |
THE MATERIALS OF BEAUTY | 35 |
The influence of the passion of love | 37 |
Social instincts and their æsthetic influence | 40 |
The lower senses | 42 |
Sound | 44 |
Colour | 46 |
Materials surveyed | 48 |
FORM | 53 |
Physiology of the perception of form | 55 |
Values of geometrical figures | 57 |
Symmetry | 58 |
Form the unity of a manifold | 61 |
Multiplicity in uniformity | 62 |
Example of the stars | 64 |
Defects of pure multiplicity | 67 |
Æsthetics of democracy | 69 |
Values of types and values of examples | 71 |
Origin of types | 73 |
The average modified in the direction of pleasure | 76 |
Are all things beautiful? | 79 |
Effects of indeterminate organization | 82 |
Example of landscape | 83 |
Extensions to objects usually not regarded æsthetically | 86 |
Further dangers of indeterminateness | 88 |
Literary form The plot | 107 |
Character as an æsthetic form | 109 |
Ideal characters | 111 |
The religious imagination | 114 |
EXPRESSION | 119 |
The associative process | 122 |
Kinds of value in the second term | 124 |
Æsthetic value in the second term | 127 |
Practical value in the same | 128 |
Cost as an element of effect | 130 |
The expression of economy and fitness | 132 |
The authority of morals over æsthetics | 134 |
Negative values in the second term | 136 |
Influence of the first term in the pleasing expression in evil | 139 |
Mixture of the expressions including that of truth | 140 |
The liberation of self | 143 |
The sublime independent of the expression of evil | 146 |
The comic | 150 |
Wit | 153 |
Humour | 155 |
The grotesque | 156 |
The possibility of finite perfection | 158 |
The stability of the ideal | 160 |
Conclusion | 162 |
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