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Poems
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
- GenresPoetry
Nook
First published May 25, 2011
About the author
Clive Bell
40 books22 followersLibrarian Note:
There is more than one author in the Goodreads database with this name. See also Clive Bell
Arthur Clive Howard Bell, British critic, proposed his aesthetic theory of significant form in Art in 1914.
The group of Bloomsbury associated Arthur Clive Heward Bell, an Englishman. He studied history at Marlborough and Trinity College, Cambridge, which educated him. Bell, one most prominent man, lived. Back at least to Immanuel Kant, peopel can trace the general view that properties of an object make something or define experiences. Bell found nothing else relevant about an object in any way to assess a valuable work. A painting for example represents something completely irrelevant to evaluating it. Consequently, unnecessary knowledge of the historical context or the intention of the painter for the appreciation of visual, he thought. "From life," "we need bring" "nothing," "no knowledge of its ideas and affairs, no familiarity with its emotions," ""to appreciate a work," he wrote.
The understanding of the notion differs. For Immanuel Kant, it meant roughly the shape of an object with as not an element. For Bell in contrast, "the" "unreal" "distinction," "you" can "conceive of" "neither" "a colorless space" nor a "relation." Bell famously coined the term to describe the distinctive type of "combination of lines and colors" which makes an object work.
Bell also claimed that the key value lies in ability to produce a distinctive experience in the viewer. Bell called this experience "emotion." It arouses that experience, as he defined it. In response to a work, we perceive an expression and thus experience emotion, he also suggested. The experience in turn sees pure ordinary objects in the world not as a means to something else but as an end, he suggested.
Ultimately, the value lies only in a means to "good states of mind," Bell thought. With "no" "more excellent or more intense" "state of mind" "than" "contemplation," Bell thought of visual works among the most valuable things. George Edward Moore, the philosopher, heavily influenced Bell like many persons in the group of Bloomsbury in his account of value.
There is more than one author in the Goodreads database with this name. See also Clive Bell
Arthur Clive Howard Bell, British critic, proposed his aesthetic theory of significant form in Art in 1914.
The group of Bloomsbury associated Arthur Clive Heward Bell, an Englishman. He studied history at Marlborough and Trinity College, Cambridge, which educated him. Bell, one most prominent man, lived. Back at least to Immanuel Kant, peopel can trace the general view that properties of an object make something or define experiences. Bell found nothing else relevant about an object in any way to assess a valuable work. A painting for example represents something completely irrelevant to evaluating it. Consequently, unnecessary knowledge of the historical context or the intention of the painter for the appreciation of visual, he thought. "From life," "we need bring" "nothing," "no knowledge of its ideas and affairs, no familiarity with its emotions," ""to appreciate a work," he wrote.
The understanding of the notion differs. For Immanuel Kant, it meant roughly the shape of an object with as not an element. For Bell in contrast, "the" "unreal" "distinction," "you" can "conceive of" "neither" "a colorless space" nor a "relation." Bell famously coined the term to describe the distinctive type of "combination of lines and colors" which makes an object work.
Bell also claimed that the key value lies in ability to produce a distinctive experience in the viewer. Bell called this experience "emotion." It arouses that experience, as he defined it. In response to a work, we perceive an expression and thus experience emotion, he also suggested. The experience in turn sees pure ordinary objects in the world not as a means to something else but as an end, he suggested.
Ultimately, the value lies only in a means to "good states of mind," Bell thought. With "no" "more excellent or more intense" "state of mind" "than" "contemplation," Bell thought of visual works among the most valuable things. George Edward Moore, the philosopher, heavily influenced Bell like many persons in the group of Bloomsbury in his account of value.
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Displaying 1 of 1 review
September 3, 2019
I am proofing this book for Free Literature and it will be published by Project Gutenberg.
CONTENTS
_THE_ CARD HOUSE
LETTER TO A LADY I
_TO_ A.V.S. WITH A BOOK
MYSELF TO MYSELF
SPRING
REPLY TO MRS. JOWITT
_TO_ GERALD SHOVE
MARCH
APRIL
JUNE
OCTOBER
DECEMBER
LETTER TO A LADY II
TO LOPOKOVA DANCING
AFTER AS CLEPIADES
THE LAST INFIRMITY
_ΠΑΝΤΩΝ ΓΛΥΚΥΤΑΤΩΝ ΜΕΤΑΒΟΛΗ._
CONTENTS
_THE_ CARD HOUSE
LETTER TO A LADY I
_TO_ A.V.S. WITH A BOOK
MYSELF TO MYSELF
SPRING
REPLY TO MRS. JOWITT
_TO_ GERALD SHOVE
MARCH
APRIL
JUNE
OCTOBER
DECEMBER
LETTER TO A LADY II
TO LOPOKOVA DANCING
AFTER AS CLEPIADES
THE LAST INFIRMITY
_ΠΑΝΤΩΝ ΓΛΥΚΥΤΑΤΩΝ ΜΕΤΑΒΟΛΗ._
Displaying 1 of 1 review