 | Bernard Bosanquet - 1904 - 580 páginas
...objective universality of the content and also of its amalgamation with the immediately sensuous element.1 The arts, then, of which form and content exalt themselves...therefore borrow their type from the romantic form of an. whose mode of plasticity they are most adequately adapted to express. And they constitute a totality... | |
 | Bernard Bosanquet - 1904 - 532 páginas
...the classical ideal of sculpture, and therefore borrow their type from the romantic form of artwhose mode of plasticity they are most adequately adapted...because the romantic type is the most concrete in itself.3 i. The articulation of this third sphere of the individual arts may be determined as follows.... | |
 | Kuno Francke, William Guild Howard - 1914 - 616 páginas
...classical ideal of sculpture behind, these new arts in which form and content are raised to an ideal level borrow their type from the romantic form of art, whose mode of expression they are most eminently fitted to voice. They form, however, a totality of arts, because... | |
 | Georg Wilhelm Friedrich Hegel - 1997 - 358 páginas
...inward unity, the weight of which is thrown wholly on the subjective side, and which, in as far as form and content are compelled to particularize themselves...the romantic type is the most concrete in itself. The articulation of this third sphere of the individual arts may be determined as follows: The first... | |
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The arts, then, of which form and content exalt themselves to ideality, abandon the character of symbolic architecture and the classical ideal of sculpture, and therefore borrow their type from the romantic form of art, whose mode of plasticity they are... 