Art and the social order:
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| Main Author: | |
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| Format: | Book |
| Language: | English |
| Published: |
New York
Dover Publ.
1962
|
| Edition: | 2. ed. |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XVII, 255 S. |
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| 245 | 1 | 0 | |a Art and the social order |c by D. W. Gotshalk |
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| _version_ | 1804126022005686272 |
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| adam_text | Titel: Art and the social order
Autor: Gotshalk, Dilman Walter
Jahr: 1962
INDEX
Abell, W., 116
Abstract expressiveness, 139-40
Aesthetic experience, 3-28, 158-63
Aesthetic union, 15, 24-25
Aim of art criticism; see under Art criticism
Alexander, $., 57 a.
Ames, V. M., 215 n.
Analysts of perception; see under Perception
Appreciation of art; see under Art
Aquinas, 5
Archimedes, 78 n.
Aristotle, 5, 47, 215, 219
Arnold, 209 n.
Art: appreciation of, 11-12, 19-20, 25, 27,
38, 51-52,102-6,118-19,121-22,131-32,
153,158-63,181-86,188-89, 208-17,228-
29, 236-39; broad cultural contributions
of, 212-17; decadent, 224; directive, 204-
6, 208, 227; future of, 235-46; history of,
122-23; ideal of, 222-46; imaginative
method in, 206-8, 227; national, 235-40,
244-45; philosophy of, xi-xiv, 173, 192-
93; presentational level of, 115-17, 137,
206; primitive, 29, 158, 223-24; recent,
230-46; in Russia, 82, 237-38, 242; as a
social force, 204-17; and social life, 201-
46; specific cultural contributions of, 208-
12, 2Î7; as a spiritual asset, 202 -3; in
the United States, 238-40, 242
Art criticism, 122, 161-63, 173-200, 201,
228-29, 236-37; aim of, 186-88; canon of,
176-200; phases of, 173- 75, 191-92, 193,
194-95, 198-200; universal agreement in,
180-88, 199-200; uses of, 188-93
Asymmetry, 110,114
Austen, Jane, 178
Bach, 121, 123,125, 199, 224, 225
Baillie, R. A., 74
Balance, 110-14, 117,131, 132
Barnes, A. C,, 189 n.
Baumgarten, A. G., 4
Beauty, 4, 45~49,150-51
Beethoven, xi, 27, 48, 96-97,100,121, 122,
141,185, 210, 214, 220, 224
Belt, C., 45, 116, 133, 148-49, 230-31
Bentley, E., 231 n.
Berenson, B., 91, 212
Bergson, H., 8
Berlioz, 93,191, 236 n.
Bizet, 157, 215
Blake, V., 120 n., 139 n.
Blom, E., 74 n., 97 n., 123 n.,142n., 143 n.
Bodmer, F., 244 n.
Bogan, L., 142 n.
Bowen, C. D., 66 n., 67 n.
Brahms, 142
Broad cultural contributions of art; see
wider Art
Bullough, E., 5-6
Camoin, C., 215 n.
Canon of art criticism; see under Art criticism
Carlyle, 230
Casson, S., 74, 98 n.
Cellini, 147
Centrality, 112-14, 117
Cézanne, 27, 62, 68, 79 n., 103,150-51,191,
215 n.
Chambers, F., 43 n.
Chandler, A. R., 98 n., 209, 231 n.
Chopin, 191
Classicism, 41, 43 n., 168,193-94,198, 224-
25
Cognitive theories, 7-12, 151
Coleridge, 59, 60, 61 n., 93,123, 208
CoIIingwood, R. G., 35 n.
Conscious self-deception theory, xi-xiii,
35-37, 168-69
Constructivism, 231
Contrast, 110, 114
Corot, 125
Correggio, 47
Craven, T., 73 n., 231 n.
Creative process, 27-28, 54-83, 93-94, 123-
25,190-91, 202, 213
Critical control, 65-69, 190-91
Croce, B., 8,17, 41-46, 55-57, 75, 76
Dadiiists, 43, 231
Dante, 11, 48, 68,121, 205
Darwin, 212 n.
Daumier, 205
David, 100
Debussy, 62, 100,103,127
Decadent art; see under Art
Delacroix, 62, 183
Della Robbia, 47, 100, 125
Development, 113-14,117
Dewey, J., 214-15
Dickens, 43, 78 n., 178, 230
Dimensions, 38, 40, 49-50, 83, 87-169,
184
Directive art; see ander Art
Doerner, M., 92 n.
Donatello, 101, 140
Dostoevski, 48
Dreiser, T., 143,178
Drew, E., 59 n., 144 n.
Ducasse, C. J,, 17 n., 35 n., 45
Edtnan, I., 215 n.
El Greco, 48, 99, 121
Eliot, T. S., 67, 77 n., 234
Ellis, H., 214-15
Empathy, 14-17
Environment, xiii, 78-83, 201-46
Equilibrium, 110-11, 114,132
Escape theory, xi-xiii, 35-37, 167-68
Euripides, 48
Expression, xiii, 33, 38-41, 41-44, 45, 74-
75, 89, 99-101, 105-7, 127-29, 136, 137-
56, 163-65, 182-83, 185-86, 198, 209-10;
of personality, 140-43
Expressionists, 38-41, 41-44, 168, 231
Eyck, Jan van, 131
Feeling, xiii, 15, 18-20, 23, 39-41, 41-43,
45, 55, 90-91, 132, 137-40,153,164, 179,
185,195-96,199, 204, 210, 212-13
Fielding, 123,178
Flaubert, 43
Form, 38-41, 41-42, 61, 74-75, 98-99, 105-
7, 108-36, 137-38, 145-46, 152-53, 154-
55,156,163-64,177,182-83,184-85,198,
200, 206-8, 210-11, 223-25, 243
Formalists, 38-41, 115-17, 147-49, 152 53,
168
France, A., 195 n.
Freud, S., 37
Fry, R., 8, 116, 135 n.
Function, xiii, 38-39, 64-65, 75-76, 101-2,
105-7, 129-30, 137-38, 146, 155, 156-69,
182-83, 185, 198-200, 218-22
Functional theory, xiii, 35-38, 166-69
Future of art; see under Art
Futurism, 231
General-welfare state, 227-30, 235-46
Genetic theory, xiii, 35-38
Genius, 55, 67-68, 194
Gide, A., 234
Giorgione, 99
Giotto, 101, 110, 112-13, 120, 127, 145,
184, 225
Goethe, 47, 79 n., 149-51
Goldsmith, 178
Gorky, M., 237
Gotshalk, D. W., 109 n., 193 n.
Goya, 48, 205
Gradation, 110, 114
Greene, T. M., 8, 96 n., 114 n., 126 n.,
139 n.
Griepenkerl, 191
Grosse, E., 29 n.
Hardy, G. H., 31 n.
Harmony, 109-14, 117
Harte, 119
Haydn, 30, 63,103, 121,125,141
Hegel, xii
Heidegger, M., 139n.
Hemingway, E., 209
Hesiod, 209
Hierarchy, 113-14
Hogarth, 93, 205
Homer, 100, 209
Hook, S., 213 n.
Hopkins, G. M., 133
Housman, A, E., 73 n.
Hume, 193
Hutcheson, 193
Huxley, A., 68 n., 205 n., 209
Ideal of art; see under Art
Imagination, 15, 18-20, 23, 45, 59-68, 91-
92, 132, 133, 137-39, 140, 152, 179, 195-
96, 204, 212-13
Imaginative method in art; see under Art
Imagists, 43, 231
Imitation theory, xii, 32-35
INDEX
Impressionists, 43, 168
Instrumental values, 26-27, 50, 97-102,
105-7, 126-30, 135-36, 145-46, 163-65,
176, 183-84, 189, 198, 223-24
Intellect, 17-20, 23, 45, 92-93, 132, 133,
204, 212-13
Intuition, 17-20, 23, 41-42,45, 90,132,133
Jarrell, R., 43 n., 231 n.
JefFery, G., 191
Jones, 28
Jordan, E., 217 n.
Joyce, J., xi, 245
Kant, 5,15, 17, 61,133,193-94
Keats, 104,123
Knowledge, 7-12, 23, 31-32, 59, 149-52,
183-84, 191-93, 204, 219-20
Krikorian, Y. H., 134 n.
Krutch, J. W., 128, 178 n.
Laissez faire, 235-36, 239
Lanchester, E., 59 n.
Langer, S., 29 n.
Lawrence, D. H., 68 n.
Lee, H. N., 11 n.
Lee, V., 17
Leonardo, 55-56, 58, 64, 103
Lescaze, W., 168 n.
Lewis, S., 143
Linton, R., 57 n., 80 n.
Liszt, 125
Littlejohns, J., 59 n.
Lowes, J. L., 59, 79 n., 208
Lubbock, P., 177 n.
Lucretius, 205
Mann, T., 226 n.
Marshall, M., 189 n.
Marxists, 79,195
Materials, 38-39, 54-57, 69-79, 87-107,
108, 126-27, 137-38, 145, 154-55, 156,
163-64, 181-82, 185, 198-200, 210-11,
227, 242-46
Matisse, H., 98, 234
Maugham, W. S., 59 n.
Mech, B. von, 66 n., 67 n.
Mechanical aspect of perception; see under
Perception
Medicinal values, 47, 218-22
Mencken, H. L., 195 n.
Mendelssohn, 47
Mestrovic, I., 74, 234
Michelangelo, 14, 48, 62, 74,100,125,127,
135-36, 140,147
Milton, 68, 72
Modulation, 110,114
Monet, 103
Moore, G., 194
Morris, B., 186 n.
Morris, W., 230
Mozart, 58, 66, 68, 78 n., 103,122,135-36,
141,147, 185, 210, 214
Münsterberg, H., 15
Munro, T., 130 n., 189 n., 212
Nahm, M., 213 n.
National art; see under Art
Nature, 32-35
Newman, E., 121 n.
Nietzsche, 47,157, 215
Nonaesthetic functions, 157-58, 164-69,
185, 218-22, 225-26, 228-29, 236, 239
Object centrality, 4-5,15-16, 24
Objective phase of creation, 69-78
Offenbach, 47
Ogden, C. K., 133 n.
Oud, 100
Over-all design, 117-20,131-36
Palladio, 193
Parker, De W., 89 n., 114 n.
Parkhurst, H. H., 24
Partisan perception; set under Perception
Pater, 194
Pepper, S. C., 8,114 n., 186 n.
Perception: analysis of, 17-23, 50-53;
mechanical aspect of, 17-21,23; partisan,
13-14,17; physiology of, 21; telic aspect
of, 17, 21-23
Personality, 22, 23, 61-65,137-38,140-43,
178-79, 212-13
Phases of art criticism; see under Art criti-
cism
Phidias, 227
Philosophy of art; see under Art
Picasso, P., 234
Plasticity of materials, 95-97
Plato, 8, 33-35, 134, 214-15
Play theory, xi-xiii, 35-37, 168
Poe, 62, 79 n., 104,119
Polyclitus, 193
Pope, 62
Positivists, 149-52
Postimpressionists, 43
Practical activitv, 5-7, 29-31,166-69, 218-
22
Prall, D. W., 8,114 n., 180 n.
PraSiteles, 145
Pre-Raphaelites, 43
Presentational level of art; see under Art
Primitive art; see under Art
Psychical distance, 5-6, 88
Psychoanalysis, 37, 79, 195
Psychologism, 169
Pushkin, 82, 237-38
Putnam, B., 59 n., 74 n.
Pythagoreans, 215
Raphael, 48, 99
Ravel, 127, 199, 234
Read, H. 230-31, 236 n.
Realists, 43, 232
Recent art; see under Art
Recurrence, 110-14
Relational theory, xii-xiv, 29-53,106,168-
69, 201-2, 232
Rembrandt, 92
Renoir, 103,105, 116
Repetition, 110-14
Representation, 33,115-17, 140, 147-49
Rhythm, 111-12,132
Ribot, Th., 59 n., 66 n., 78 n.
Richards, I. A., 61 n., 133 n., 212 n.
Rimsky-Korsakoff, 100, 103
Rodin, 27, 62, 79 n., 115
Romanticism, 41, 42-43, 47, 79-80, 81,168,
193-98,199, 214, 224-25, 230-31
Rourke, C., 243 n.
Royce, J., 58 n.
Rubens, 125,127, 184
Rude, 146
Ruskin, 12,191, 230
Santayana, G., 55 n., 73, 96 n., 215, 228-29
Saroyan, W., 79 n.
Sartre, J. P., J39n.
Schoen, M., 59 n., 72 n.
Schoenberg, A., 245
Schopenhauer, 7, 47
Schubert, 191
Schumann, 127
Science, 7-11, 31-32, 149-52, 191-93, 194-
95, 233
Self, 15, 22, 23, 26-27, 202-3, 212-14
Sensation, 17-20, 45, 88-89, 132, 133, 204,
212-13
Sensitivity, 59-60, 61-65, 179, 183-84
Sensual experience, 15-16
Shakespeare, 12, 65, 101, 185, 206, 237-38
Shelley, 147, 220
Significant form, xiii, 39-41, 147-49
Skopias, 48
Smith, L. P., 27 n., 73 n.
Social expressiveness, 143-44,19S
Socrates, xii, 33-35,149-52, 209
Sophocles, 185
Specific cultural contributions of art; see
under Art
Spengler, O., xii
Spingarn, J., 193 n.
Spirit, 25-26, 42, 55-57, 72, 93-94, 202
Spiritual value, 25-26, 202-3, 223-26
Stauffer, D. A., 82 n.
Stein, L., 8,15 n., 26, 55 n., 114 n.
Steinbeck, J., 189 n.
Strauss, J., 48
Strauss, R., 100
Stravinsky, I., 48, 234
Stream-of-consciousness, 43, 231
Subject, 64-65
Subjective phases of creation, 55-56, 58-69,
82-83
Subjectivism, 42-44
Sullivan, L., 93
Surrealists, 43, 66, 68 n., 231
Swift, 205
Symbolists, 43
Symmetry, 110, 114
Taine, 79,195
Taste, 67-68, 193-94
Technique, 47-48, 71-73,140-43, 226, 227,
242-46
Temperament in criticism, 182-88, 199-200
Terminal values, 25-26, 49-50,102-7, 130-
36, 146-53, 165-66, 176, 181-83, 184-86,
198-200, 223 -24
Theme and variation, 110, 114
Tintoretto, 303- 320-21
INDEX
Titian, 98, 121, 147
Tolstoy, 4, 45-46, 72, 147, 205, 206
Tovey, D. F., 133
Truth 11-12, 48-49, 149-52, 185-86, 209-
10
Tschaikowsky, 66-67, 69, 128
Turner, 191
Type designs, 120-25
Unconscious, the, 65-69, 190
Universal agreement in art criticism; see
under Art Criticism
Uses of art criticism; see under Art criticism
Utility, 29-30, 220-22
Value, 49-53
Van Gogh, 73, 103, 138
Velasquez, 147, 220
Véron, 45, 55 n.
Verrocchio, 140, 145
Vivas, E., 134 n.
Vorticists, 43, 231
Wagner, 63, 98, 113, 121, 142, 146, 157 n.,
210
Wassermann, J., 78 n.
Watteau, 11
Webb, B., 238 n.
Webb, S„ 238 n.
Weber, 191
Weismann, 78 n.
Wharton, E., 142
Whistler, 73, 230
Whitman, 27-28, 79 n., 98, 104, 121
Wilenski, R. H., 59 n.
Williams, F. E., 238 n.
Wilson, E., 78 n., 82 n., 238 n
Wish-fulfilment, 37, 51, 157
Wittgenstein, L., 180n.
Wolfe, T., 73 n.
Wood, J., 133 n.
Wordsworth, 104
World art, 240-46
World society, 240-46
Worringer, W:, 128 n.
Wright, F. L., 234
Yasser, J., 244
Zadkine, 104
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| spelling | Gotshalk, Dilman Walter Verfasser aut Art and the social order by D. W. Gotshalk 2. ed. New York Dover Publ. 1962 XVII, 255 S. txt rdacontent n rdamedia nc rdacarrier Kunst Philosophie Art and society Art Philosophy HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=007739969&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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