This is a list of all the questions and their associated study carrel identifiers. One can learn a lot of the "aboutness" of a text simply by reading the questions.
| identifier | question |
|---|---|
| 51459 | And indeed how should they? |
| 51459 | And what sufficient reason can be given why the same may not be said of the rest of the body? |
| 51459 | Have not many gothic buildings a great deal of consistent beauty in them? |
| 51459 | How inelegant would the shapes of all our moveables be without it? |
| 51459 | How solemn and pleasing are groves of high grown trees, great churches, and palaces? |
| 51459 | If anyone should ask, what it is that constitutes a fine- proportion''d human figure? |
| 51459 | If uniform objects were agreeable, why is there such care taken to contrast, and vary all the limbs of a statue? |
| 51459 | In a landskip, will the water be more transparent, or the sky shine with a greater lustre when embrown''d and darken''d by decay? |
| 51459 | and do n''t we find by experience what weight, or dimension should be given, or taken away, on this or that account? |
| 51459 | has not even a single spreading oak, grown to maturity, acquir''d the character of the venerable oak? |
| 51459 | or when a spring is not sufficient? |
| 26942 | I suppose you''re a painter and regretting you have n''t brought your sketching materials? |
| 26942 | --"How will the Discobolus recover when he has let go the quoit?" |
| 26942 | And if so in what manner? |
| 26942 | And if so,_ why is it where it is?_ Whence does it come? |
| 26942 | And if so,_ why is it where it is?_ Whence does it come? |
| 26942 | And that makes me think: Why not start a joint- stock company to build them? |
| 26942 | But when we thus_ perceive_ a shape, what is it precisely that we grasp or take in? |
| 26942 | CHAPTER IX EMPATHY_ THE mountain rises._ What do we mean when we employ this form of words? |
| 26942 | CHAPTER V PERCEPTION OF RELATIONS WHY should this be the case? |
| 26942 | Does this shape suggest the thing''s possession of desires and purposes which we can deal with? |
| 26942 | Even such technical questions as"where and when restored or repainted?" |
| 26942 | How will it_ feel_ towards us( if it can feel)? |
| 26942 | Instead therefore of asking: Why is there a preference for what we call Beauty? |
| 26942 | Is the ceiling to remain a unity, or be broken up into irrelevant compositions? |
| 26942 | My answer is: When did I say or imply that he was_ aware_ of doing any of it? |
| 26942 | No one except an art- critic sees a new picture or statue without first asking"What does it represent? |
| 26942 | Not: What is the use of Art? |
| 26942 | Or is it such that_ we_ can do thus by it? |
| 26942 | Or of the sudden, wilful kind we know in animals and men? |
| 26942 | Or will it change its place only if_ we_ supply the necessary_ locomotion?_ Briefly: is the thing of which we see the shape inert or active? |
| 26942 | Or will it change its place only if_ we_ supply the necessary_ locomotion?_ Briefly: is the thing of which we see the shape inert or active? |
| 26942 | To sum all up: What does the presence of this shape lead us to think and do and feel? |
| 26942 | What becomes therefore of our awareness of raising or lifting or_ rising?_ What can become of it( so long as it continues to be there!) |
| 26942 | What does this shape tell us of such more formidable locomotion? |
| 26942 | What is it going to do? |
| 26942 | What is it_ thinking_ of( if it can think)? |
| 26942 | What will be its future and what may have been its past? |
| 26942 | What would it say( if it could speak)? |
| 26942 | Will it, like a loose stone, fall upon us? |
| 26942 | like flame, rise towards us? |
| 26942 | like water, spread over us? |
| 26942 | of what precise date? |
| 26942 | to advance or recede from us? |
| 26942 | we should have to ask: why has perception, feeling, logic, imagination, come to be just what it is? |
| 29510 | And again, what these are, if they are two? |
| 29510 | Are you then willing we should assume the contrary part, and consider what in the soul appears deformed? |
| 29510 | Besides, how, from such an hypothesis can gold be beautiful? |
| 29510 | But after what manner are the two beautiful? |
| 29510 | But after what manner in this is commensuration to be found? |
| 29510 | But how can that which is inherent in body, accord with that which is above body? |
| 29510 | But where is the ship to be found by which we can accomplish our flight? |
| 29510 | But you will ask, after what manner is this beauty of a worthy soul to be perceived? |
| 29510 | Can anything so thoroughly destroy the phantom of false enthusiasm as establishing the real object of the true? |
| 29510 | In the first place then, what is that, which, by its presence, causes the beauty of bodies? |
| 29510 | In what respect then, shall we call these beautiful? |
| 29510 | Lastly, of what kind is the beauty of intellect itself, abstracted from every corporeal concern, and intimately conversing with itself alone? |
| 29510 | Let us reply by asking how the architect pronounces the building beautiful by accommodating the external structure the fabric of his soul? |
| 29510 | May we not enquire after what manner they all partake of beauty? |
| 29510 | Or in what manner can speculations themselves be called mutually commensurate? |
| 29510 | Or the glittering of night and the glorious spectacle of the stars? |
| 29510 | Or, what beauty is, if perfectly simple, and one? |
| 29510 | Or, whether the beauty of bodies is of one kind, and the beauty of souls of another? |
| 29510 | We still, therefore, repeat the question, What is the beauty of bodies? |
| 29510 | What do you experience on perceiving yourselves lovely within? |
| 29510 | What is it then, which causes bodies to appear fair to the sight, sounds beautiful to the ear, and science and virtue lovely to the mind? |
| 29510 | What is it, then, this inward eye beholds? |
| 29510 | What is the similitude then between the beauties of sense and that beauty which is divine? |
| 29510 | What measures, then, shall we adopt? |
| 29510 | What, then, must be the condition of that being, who beholds the beautiful itself? |
| 29510 | Where the telescope which can see at what point in the universe wisdom first began? |
| 29510 | Where, says Mr Harris, is the microscope which can discern what is smallest in nature? |
| 29510 | Whether beauty is one and the same in all? |
| 29510 | [ 8] But, by what leading stars shall we direct our flight, and by what means avoid the magic power of Circe, and the detaining charms of Calypso? |
| 6366 | I can understand,he may say,"the value of expression for the sake of communication and influence, but what value can it have of itself?" |
| 6366 | A king desires, perhaps, to perpetuate his memory; how better than through some enduring likeness in stone or paint? |
| 6366 | And do we not find the masters of so abstract an art as ornament employing their materials to represent symbolic conceptions? |
| 6366 | And how does he do it? |
| 6366 | And if we can explain the reticence of blue through association with the sky, can we thus explain its quietness? |
| 6366 | And what shall we think of a picture like the"Doctor"of Luke Fildes'', which is so pathetic that one can not bear to look at it? |
| 6366 | And who is more luxurious than he? |
| 6366 | And, I ask, why not grant to art its autonomy? |
| 6366 | Art is not life over again, a mere shadow of life; if it were, what would be its unique value? |
| 6366 | But can they express anything singly? |
| 6366 | But did they deserve so hard a fate as theirs? |
| 6366 | But how can space-- the most abstract thing in the world-- become alive? |
| 6366 | But how can the good triumph when the hero fails and dies? |
| 6366 | But just what is expressed through sound, and how? |
| 6366 | But what shall we say in answer to the mystic who tells us that beauty is indefinable? |
| 6366 | Can the warmth of fire and the excitement of blood explain quite all the depth of passionate feeling in red? |
| 6366 | Can we say that certain ideas and images belong properly to the work of art, while others do not? |
| 6366 | Did not Lear suffer as much for his folly as his daughters for their wickedness? |
| 6366 | Does it not attach to the representation of the concrete, individual pond? |
| 6366 | Does the philistine feed the poor and save the sinners? |
| 6366 | How account for the actual chaos of judgment? |
| 6366 | How can the representation of this sheer evil become a good? |
| 6366 | How can this difference be accounted for? |
| 6366 | How can we be reconciled to things that are admittedly incongruous with our standards? |
| 6366 | How does it? |
| 6366 | How is it with verse? |
| 6366 | How shall we proceed in seeking such an idea of art? |
| 6366 | How, they say, can one hope to distill into clear and stable ideas such a vaporous and fleeting matter as Aesthetic feeling? |
| 6366 | If art has a unique purpose, different from that of science or morals, why should we not judge it in terms of that purpose? |
| 6366 | If the question were raised, which is more fundamental in the aesthetic experience, idea or emotion? |
| 6366 | If the repetition of the same color or line in painting, the same tone in music, can delight us, why not the repetition of the same word- sound? |
| 6366 | Is there anything in poetry comparable to the expressiveness of single tones or of colors like red and blue and yellow? |
| 6366 | Is this principle itself rational, and would art survive in a regime which embodied it? |
| 6366 | It is a personal expression-- who, when listening to music which he enjoys, does not feel himself poured forth in the tones? |
| 6366 | It is social and public-- what brings us together under the sway of a common emotion more effectively than concert or opera? |
| 6366 | Life itself is the great temptation; how can one who can not look with equanimity upon statues and pictures fail to be seduced by live men and women? |
| 6366 | Or, when Dante describes the_ selva oscura_, who does not see the darkness in the word_ oscura_? |
| 6366 | PORENA, M. Che cos''e il bello? |
| 6366 | Reformers and statesmen will enlighten us concerning reconstruction, why not turn to them? |
| 6366 | TOLSTOY, L. What is Art? |
| 6366 | The workman plows for him, cooks for him, builds for him, spins for him, but what does he do in return? |
| 6366 | There is, of course, an observance of the general laws of color and space, but does the beauty of the picture consist in that? |
| 6366 | This is always true in life, and Shakespeare holds the mirror up to nature-- but is it consistent with the theory of retributive justice? |
| 6366 | We can get scientific truth from science, why then seek it in art? |
| 6366 | We can obtain moral wisdom from the philosopher and priest, why require it of the artist? |
| 6366 | Were it otherwise, who could stand the strain of_ Hamlet_ or_ Othello_? |
| 6366 | What is there about aesthetic appreciation that makes it seemingly so recalcitrant to law? |
| 6366 | What man has not rejoiced when the simple and cold judgment,"I suffered then,"has come to supplant a recurring torment? |
| 6366 | What supreme worth does art possess that it should be valued so disproportionately? |
| 6366 | What vividness of imagination or sentiment can transmute these dead and hollow masses into a life universally felt? |
| 6366 | What young man nursed on Shelley''s poetry has not become a lover of freedom and an active force against all oppression? |
| 6366 | Whence comes it? |
| 6366 | Who consumes more in his own person of the energies of the toilers? |
| 6366 | Who does not feel that Philip the Fourth is present on the Velasquez canvas; where else could one find him so alive? |
| 6366 | Who is commonly more careless of the workers''needs and more cruel to the fallen in his self- righteous probity? |
| 6366 | Who is he that would be the judge between worldly goods and beauty? |
| 6366 | Why are we not rather displeased and angry with them? |
| 6366 | Why is this? |
| 6366 | Why, for example, does the painting of flowers by a real master afford a richer aesthetic experience than real flowers? |
| 6366 | Why, if the comical object is always opposed to our demands, should we take pleasure in it? |
| 6366 | Yet what is the universal truth asserted in one of Monet''s pictures of a lily pond? |
| 6366 | who would not prefer the substance to the shadow? |
| 6366 | yet who does not at the same time experience its assuagement? |
| 12896 | Do you contemplate going to Washington to- morrow? |
| 12896 | Indeed, to love Molière-- I mean to love him sincerely and with all one''s heart-- it is, do you know? 12896 Again, can it be said of Napoleon that he possessed good sense in a rare degree? 12896 And Job and the Psalms: what should we have done without them in English? 12896 And can we estimate the loss the modern mind would suffer by deprivation of them in translated form? 12896 And who then would say better things of Homer than Milton? |
| 12896 | And why does Mr. Dayman say,"pious drops,"instead of piteous? |
| 12896 | Are his Harolds and Giaours, we would ask, real men; we mean, poetically consistent and conceivable men? |
| 12896 | Are we poetical? |
| 12896 | Are we strong enough to digest this marrow of lion(_ cette moelle de lion_)?" |
| 12896 | Are you aware what sort of a ridiculous figure your poor bald Jonathan would have cut? |
| 12896 | Assent even to an intellectual proposition, does not it too presuppose an ideal in the mind of him who assents? |
| 12896 | Beauty-- what is it? |
| 12896 | But do not the presence of"vivacity of feeling with susceptibility to impression"imply the imaginative temperament? |
| 12896 | But have we not in modern tongues the creations of Homer, and of Plato, who Shelley, on the same page, says is essentially a poet? |
| 12896 | But is not a campaign of a great captain equally a work of genius? |
| 12896 | But say: in th''hour of sweetest sighs, By what and how found Love relief And broke thy doubtful longing''s spell?" |
| 12896 | But tell me, at the time of those sweet sighs, By what and in what manner Love conceded That you should know your dubious desires?'' |
| 12896 | But what is ideal power? |
| 12896 | But why does he make Francesca address her companion personally, instead of saying,"who shall never part from me?" |
| 12896 | But why separate them? |
| 12896 | Can it be that Mr. Longfellow hereby aims to be more close to the form of Dante? |
| 12896 | Can the_ terza rima_, as used by Dante, be called a stanza? |
| 12896 | Can there be given to it an approximate answer? |
| 12896 | Comment exprimer comme je le sens ma gratitude pour tant de soin, d''attention pénétrante, de désir d''être agréable tout en restant juste? |
| 12896 | Could Columbus have given birth to"Don Quixote?" |
| 12896 | Could Newton have written the"Fairy Queen?" |
| 12896 | Could Spenser have discovered the law of gravitation? |
| 12896 | Does Italy count Juliet among her trophies, or Desdemona? |
| 12896 | Dr. Johnson found fault with Boswell for using the phrase to_ make_ money:"Do n''t you see the impropriety of it? |
| 12896 | Has anything been lost in the transit from Italian words to English? |
| 12896 | Have you then for M. Sainte- Beuve, some reader will be impatient to ask, nothing but praise? |
| 12896 | He asks:"Have we then got him at last? |
| 12896 | He might likewise ask, What is moral power? |
| 12896 | Hence a cardinal question about a poem is, How much of it does the poet draw out of himself? |
| 12896 | How could they see a Robert Burns? |
| 12896 | How does the poetic Lorenzo word the other three lines? |
| 12896 | How has this been accomplished? |
| 12896 | In the whole"Inferno,"is there a sentence so aglow as this line and a half of"Paradise Lost"? |
| 12896 | Is it not fullness and richness of feeling? |
| 12896 | Is not Thomas Carlyle justly chargeable with having committed a high literary misdemeanor? |
| 12896 | Is not the life more than meat, and the body than raiment?... |
| 12896 | Is our stomach up to him? |
| 12896 | Is there a sudden play of light that warms, and, through this warmth, illuminates the object before him? |
| 12896 | Is this true, is it false? |
| 12896 | Is"Hamlet"on that score less English than"Lear,"or"Othello"than"Macbeth"? |
| 12896 | Ma dimmi: al tempo de''dolci sospiri, A che, e come concedette Amore Che conosceste i dubbiosi desiri? |
| 12896 | Now, the enjoyment of the few appreciators, what is its source? |
| 12896 | On the fourth day one of Ugolino''s dying sons throws himself at his father''s feet, crying,--"Father, why dost not help me?" |
| 12896 | Outside of the choice achievements of verse, is there a literary task of breadth and difficulty that has been done so well? |
| 12896 | Shall we attempt what has been so often attempted and never fully achieved? |
| 12896 | Shall we not eat oranges, because on being translated from Cuba to our palates they have lost somewhat of their flavor? |
| 12896 | The better to meet the question,_ What_ is poetry? |
| 12896 | The first question to ask in regard to a simile found in verse is, Is it poetical? |
| 12896 | The least of our acts or motions, is it not always preceded by a thought, a volition, a something intangible, invisible? |
| 12896 | They wept: and my dear Anselm said,"Thou look''st so, father, what hast thou?" |
| 12896 | Think''st thou the honey with those objects grew? |
| 12896 | WHAT IS POETRY? |
| 12896 | WHAT IS POETRY? |
| 12896 | Was there ever before anything like to that, so encouraging, so consoling, in the teaching and the precepts of the sages? |
| 12896 | We ask, Were not the translators of the Bible as liable to err in grammar as De Quincey, or Wordsworth, or Shelley? |
| 12896 | What constitutes the wealth of human life? |
| 12896 | What has been done with the prose statement? |
| 12896 | What is a national drama? |
| 12896 | What is poetic imagination? |
| 12896 | What is the nature of those feelings thus wrought upon? |
| 12896 | What more convincing demonstration of the beauty and truth of the entirely historic personage, Jesus, than the Sermon on the Mount?" |
| 12896 | What so precious treasure has England as Shakespeare? |
| 12896 | What were the worth of a comment of John Locke on"Paradise Lost,"except to reveal the mental composition of John Locke? |
| 12896 | What would the"Fairy Queen"be in blank verse? |
| 12896 | When we had come to the fourth day Gaddo threw him stretched at my feet, Saying,"Father, why dost not help me?" |
| 12896 | Whence this mysterious cleansing thrill? |
| 12896 | Where in history is there a picture greater than that of the execution of Louis XVI.? |
| 12896 | Whether stanzas, strictly speaking, or not, shall we say our mind frankly about the_ terza rima_? |
| 12896 | Who is the artist? |
| 12896 | Why did M. Sainte- Beuve make Goethe sovereign in criticism? |
| 12896 | Why did he think Milton peculiarly qualified to interpret Homer? |
| 12896 | Why is it that we so prize a fragment of Phidias, a few lines traced by Raphael? |
| 12896 | a fingering slave, One that would peep and botanize Upon his mother''s grave?" |
| 12896 | and what can our narrow ideas tell of the Highest Being? |
| 12896 | do we know what these words mean? |
| 12896 | obdurate earth, why didst not ope? |
| 12896 | we begin by putting before it another, and ask,_ Where_ is poetry? |
| 9306 | But if Poetry be a theoretic fact, in what way is it to be distinguished from science and from historical knowledge? |
| 9306 | How can you, a professor of philosophy, dare to praise lying and the mixture of truth and falsehood? |
| 9306 | If every Requiem, every lamenting Adagio, possessed the power to make us sad, who would be able to support existence in such conditions? 9306 Was Virgil a poet or an orator?" |
| 9306 | What proof givest thou of all this? |
| 9306 | Where,he exclaims,"is there any beauty that does not come from the feminine figure, the centre of all beauty? |
| 9306 | Admitting that language is a sign, are we to take that as signifying a spiritual necessity(_ phusis_) or as a psychological convention(_ nomos_)? |
| 9306 | And composition? |
| 9306 | And how can such a question be answered, save by giving the history of their art( of their literature, that is to say, of their language in action)? |
| 9306 | And if so, to what extent? |
| 9306 | And is not this last truly determined, when one unique function is attributed to it, not spatializing nor temporalizing, but characterizing? |
| 9306 | And style? |
| 9306 | And the point of view of the author? |
| 9306 | And what are the laws of_ words_ which are not at the same time laws of_ style_? |
| 9306 | And what are the words cruelty, idyll, knighthood, domestic life, and so on, but the expression of those concepts? |
| 9306 | And what could a( normative) grammar be, but just a technique of linguistic expression, that is to say, of a theoretic fact? |
| 9306 | Are we to call the sounds content? |
| 9306 | Art does not imitate nature, for what is nature, but that vast confusion of perceptions and representations that were referred to above? |
| 9306 | As they are excluded from Aesthetic, in what other part of Philosophy will they be received? |
| 9306 | But how can we pardon mediocre expression in pure artists? |
| 9306 | But is not the loftiness of the search the reason why no satisfactory result has hitherto been obtained? |
| 9306 | But the_ unconscious_ element In poetry? |
| 9306 | But what could such a spatial function be, that should control even time? |
| 9306 | But why? |
| 9306 | Do they remain equal? |
| 9306 | Do we ever, indeed, feel complete satisfaction before even the best of photographs? |
| 9306 | Do we not obtain more powerful effects by uniting several? |
| 9306 | Does it mean a qualitative, a formal difference? |
| 9306 | Does not morality presuppose logical distinctions? |
| 9306 | Does the aesthetic fact consist of content alone, or of form alone, or of both together? |
| 9306 | Does the hypothesis correspond to reality? |
| 9306 | Don Quixote is a type; but of whom is he a type, if not of all Don Quixotes? |
| 9306 | Even though she were not also darkened by time, would not the impression be altogether different? |
| 9306 | Expressive activity? |
| 9306 | Externally? |
| 9306 | From the same theory come the prejudices, owing to which at one time( and is it really passed?) |
| 9306 | Granted different arts, distinct and limited, the questions were asked: Which is the most powerful? |
| 9306 | Historical laws and historical concepts? |
| 9306 | How can we find the historical genesis of that which is a category, by means of which every historical genesis and fact are understood? |
| 9306 | How can we really will, if we do not know the world which surrounds us, and the manner of changing things by acting upon them? |
| 9306 | How could a proposition be clearly thought and confusedly written out? |
| 9306 | How could he will the_ rational_, unless he willed it also_ as his particular end_? |
| 9306 | How could humanity appreciate works of genius, he asks, were it without some common measure? |
| 9306 | How could that which is produced by a given activity be judged by a different activity? |
| 9306 | How could these be known, otherwise than by expressions and words, that is to say, in imaginative form? |
| 9306 | How could we judge what remained extraneous to us? |
| 9306 | How far has the author succeeded in doing what he intended? |
| 9306 | How obtain the same effect, when the conditions are no longer the same? |
| 9306 | How often do we strive to understand clearly what is passing within us? |
| 9306 | How should these contents be_ represented_? |
| 9306 | How was he to emerge from this uncertainty, this contradiction? |
| 9306 | How, indeed, could it be otherwise, if logical activity come after and contain in itself aesthetic activity? |
| 9306 | How, then, can a comparison be made, where there is no comparative term? |
| 9306 | If a landscape, why not a topographical sketch? |
| 9306 | If a story; why not the occasional note of the journalist? |
| 9306 | If an epigram be art, why not a single word? |
| 9306 | If art be intuition, would it therefore be any intuition that one might have of a_ physical_ object, appertaining to_ external nature_? |
| 9306 | If it be not deception, then what is the place of tragedy in philosophy and in the righteous life? |
| 9306 | If it be spiritual, what is its true nature, and in what way does it differ from art and science? |
| 9306 | If not, what becomes of the intuitive character, of which we have affirmed the equal necessity and also its identity with the former? |
| 9306 | If so, what becomes of the lyrical character, of which we have asserted the necessity? |
| 9306 | If utility were egoism, how could it be the duty of the altruist to behave like an egoist? |
| 9306 | In what did the general decadence of Italian literature at the end of the sixteenth century consist? |
| 9306 | In what other way could science be born, which, if aesthetic expressions be assumed in it, yet has for function to go beyond them? |
| 9306 | In what way? |
| 9306 | Inductive? |
| 9306 | Internally? |
| 9306 | Is art rational or irrational? |
| 9306 | Is it spiritual or animal? |
| 9306 | Is it their fitness which makes things seem beautiful? |
| 9306 | Is poetry a rational or an irrational thing? |
| 9306 | Is the beautiful that which seems ugly to no man? |
| 9306 | Is the beautiful the helpful, that which leads to the good? |
| 9306 | Is the beautiful to be found in ornament? |
| 9306 | Is there anything more beautiful than Iago? |
| 9306 | Let us assume that they limit themselves to the white race, and let us continue:"What sub- species of the white race?" |
| 9306 | May it not be a residuum of criticisms and of negations from which arises merely the necessity to posit a generic intuitive activity? |
| 9306 | Maybe they are visual? |
| 9306 | No one before him, in antiquity, in the Middle Age, or in modern times, had seriously asked: What is the value of the distinctions between the arts? |
| 9306 | Now why give oneself this trouble? |
| 9306 | Now without staying to consider these two remarkable instances, let us ask, what is this essential characteristic of Taine? |
| 9306 | Of what is it a mixture? |
| 9306 | Of what kind must be these laws, these universals? |
| 9306 | Of what use are they? |
| 9306 | Or does it mean greater complexity and complication, a quantitative, material difference? |
| 9306 | Or, better, when this is conceived as itself a category or function, which gives knowledge of things in their concretion and individuality? |
| 9306 | Or, if it be practical, how can it be theoretic? |
| 9306 | Perhaps it was all a pastime for him, like playing at patience, or collecting postage- stamps? |
| 9306 | Perhaps such epithets as"lower"and"lowest"are irreconcilable with the dignity and with the splendid beauty of art? |
| 9306 | Perhaps, as is generally said, because the correct word is in certain cases not so_ expressive_ as the so- called incorrect word or metaphor? |
| 9306 | Should a free course be allowed to its pleasures? |
| 9306 | Should it be submitted to a dialectic, by means of which it must be surpassed and dissolved into a more lofty point of view? |
| 9306 | Sounds again? |
| 9306 | The reader will probably ask here: But what, then, becomes of morality? |
| 9306 | These are,_ firstly_, what is its_ peculiarity_, in what way is it singular, how is it differentiated from other works? |
| 9306 | This, translated into scientific language, is tantamount to asking: What is the connexion between Acoustic and aesthetic expression? |
| 9306 | To what the ugly? |
| 9306 | To what unions of tones, colours, sizes, mathematically determinable? |
| 9306 | To what use should it be put? |
| 9306 | What are ever feelings that become apparent or manifest, but feelings objectified, intensified, expressed? |
| 9306 | What are the limits between the figurative and the auditional arts, between painting and sculpture, poetry and music? |
| 9306 | What are we to call form? |
| 9306 | What can be represented with colours, and what with sounds? |
| 9306 | What does Raphael mean by the"certain idea,"which he follows in his painting? |
| 9306 | What does he call this new science? |
| 9306 | What does secondary order mean here? |
| 9306 | What have we done in both cases? |
| 9306 | What is Aesthetic for Baumgarten? |
| 9306 | What is art for Schiller? |
| 9306 | What is it, then? |
| 9306 | What is knowledge by concepts? |
| 9306 | What is still lacking to him, that he may attain to speech? |
| 9306 | What is syllogistic? |
| 9306 | What is the aesthetic form of domestic life, of knighthood, of the idyll, of cruelty, and so forth? |
| 9306 | What is the art of a given people but the complex of all its artistic products? |
| 9306 | What is the beautiful? |
| 9306 | What is the character of an art( say, Hellenic art or Provençal literature), but the complex physiognomy of those products? |
| 9306 | What is the difference between their representation or image, and our intuitive knowledge? |
| 9306 | What is the reason for poetry being obliged to seek verisimilitude? |
| 9306 | What is this disinterested pleasure that we experience before pure colours, pure sounds, and flowers? |
| 9306 | What is this new operation? |
| 9306 | What is to be done if good taste and the real fact, put into formulas, sometimes assume the air of paradoxes? |
| 9306 | What was Kant''s idea of art? |
| 9306 | What weight did he attach to Schopenhauer''s much- vaunted writings on art? |
| 9306 | What were the ideas developed by Vico in his_ Scienza nuova_( 1725)? |
| 9306 | What will be their lot? |
| 9306 | What with notes, and what with metres and rhymes? |
| 9306 | What with simple monochromatic lines, and what with touches of various colours? |
| 9306 | What would a picture be for a hypothetical man, deprived of all or many of his senses, who should in an instant acquire the sole organ of sight? |
| 9306 | What would these Gods become without their limitations? |
| 9306 | What, it says, is intuitive knowledge without the light of intellective knowledge? |
| 9306 | What, then, is interesting? |
| 9306 | What, then, is the possible, the something more, and the particular of poetry? |
| 9306 | Whence does It come? |
| 9306 | Which is the lesser evil?--great erudition and defective taste, or natural good taste and great ignorance? |
| 9306 | Which of them comes first? |
| 9306 | Which second? |
| 9306 | Who among aestheticians has criticized this principle? |
| 9306 | Who can deny the necessity and the utility of these groupings? |
| 9306 | Who can help admiring their strength of will, although their activity is only economic, and is opposed to what we hold moral? |
| 9306 | Who does not recall the great part played in literary history by the criticism of the verisimilar? |
| 9306 | Who, without a similar act of interruptive reflexion, is conscious of temporal sequence while listening to a story or a piece of music? |
| 9306 | Why take the worse and longer road when you know the shorter and better road? |
| 9306 | Why, they asked with Aristotle, at the Renaissance, does poetry deal with the universal, history with the particular? |
| 9306 | Would not an artist vary and touch up much or little, remove or add something to any of them? |
| 9306 | Would one not attain to a work of art in this way, or at any rate to an artistic motive? |
| 9306 | [ Sidenote]_ Examples: definitions of the sublime, the comic, and the humoristic._ What is the sublime? |
| 9306 | and is the man at rest or at work, or is he occupied as is Paul Potter''s cow, or the Ganymede of Rembrandt?" |