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Updated: June 5, 2025
The construction in images must justify its existence, in the case of the scientist, by explaining; and in the case of the man of affairs, by being embodied in an invention that is useful and answers its purpose. In the esthetic field, creation is accompanied by a momentary belief. Fancy, remarks Groos, is necessarily joined to appearance.
Under the urgency of emotion, color crept into the pallid cheeks, and now her face was very beautiful so beautiful, indeed, that for a little the charm of its loveliness caught the man's gaze, and he watched her with a new respect, born of appreciation for her feminine delightfulness. The impression was far too brief. Gilder was not given to esthetic raptures over women.
In the case of the film, too, the freedom from the physical forms of space, time, and causality does not mean any liberation from this esthetic bondage either. On the contrary, just as music is surrounded by more technical rules than literature, the photoplay must be held together by the esthetic demands still more firmly than is the drama.
There is concealed in it a particular set of esthetic factors phonetic, rhythmic, symbolic, morphological which it does not completely share with any other language.
Two out of three of the notes were either sharp or flat, not so flagrantly as to produce absolute disharmony, but just enough to set the teeth on edge. And the rendition was as colorless as that of a poor hand-organ. The performer seemed to grind out his fearful stuff with a fierce delight, in which appeared little of the esthetic pleasure of the artist. Thorpe was at a loss to define it.
The philanthropic pleasure in the furnishing of cheap entertainment and the recognition that a certain advance has recently been made seem to alleviate the esthetic situation, but the core of public opinion remains the same; the moving pictures are no real art. And yet all this arguing and all this hasty settling of a most complex problem is fundamentally wrong.
The English monosyllabic refrain, with its touching balance of rhythm, loses nearly all of its esthetic effect in the French translation: "Car mon fils, que voici, était mort, mais il est ressuscité; il était perdu, mais il est retrouvé."
Beauty expressed by the artist cannot awaken in us an emotion which is kinetic or a sensation which is purely physical. It awakens, or ought to awaken, or induces, or ought to induce, an esthetic stasis, an ideal pity or an ideal terror, a stasis called forth, prolonged, and at last dissolved by what I call the rhythm of beauty. What is that exactly? asked Lynch.
We could, however, cite many passages of music which are absolutely lacking in emotion and which are beautiful nevertheless from the standpoint of pure esthetic beauty. But what am I saying? Painting goes its own way and emotion, feeling, and passion are evoked by the least landscape. Maurice Barres brought in this fashion and he could even see passion in rocks.
In her there was no sign of an unnatural preservation, as, for example, in a flower that has been sustained, yet subtly altered, by imprisonment in ice. Nor did her countenance show in the least that glaze of time which changes, without abating, the fairness of marble goddesses surviving for us from remote ages of esthetic victory.
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