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Updated: May 22, 2025
Here, again, I find opponents, notably Oelzelt-Newin, in his short and substantial monograph on the imagination.
What the music that I like expresses to me seems to me too definite, rather than too indefinite, for anyone to be able to match words to it." Oelzelt-Newin, op. cit., pp. 22-23. For analogous facts from contemporary musicians, see Paulhan, Rev. Phil., 1898, pp. 234-35. For the sake of brevity and clearness I do not give here the observations and evidence.
Without repeating an evident truism, although it is often misunderstood, we ought to end by remarking that chance is an occasion for, not an agent of, creation. Some of these and the following figures are borrowed from Oelzelt-Newin, op. cit., pp. 70 ff. Compare the well-known theory of Dr. Hughlings-Jackson.
Thanks to this isolation, the object emerges out of the average level of its milieu, is illumined all around and put in relief it takes body, moves, lives. But to attain this is necessary the concentration of all the faculties. It is only when the art-work has been a world for the artist that it is also a world for others." George Sand, Elle et Lui, I. In Oelzelt-Newin, op. cit., p. 49.
Oelzelt-Newin, op. cit., p. 49. Pitres et Régis, Séméiologie des obsessions et des idées fixes, 1878. Séglas, Leçons cliniques sur les maladies mentales, 1895. Raymond et Janet, Névroses et idées fixes, 1898. Up to this point the imagination has been treated analytically only.
Certain animals, says Oelzelt-Newin, fulfill all the conditions necessary for creative imagination subtle senses, good memory, and appropriate emotional states. This assertion is perhaps true, but it is purely dialectic. It is equivalent to saying that the thing is possible; it does not establish it as a fact.
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