Abstraction and Empathy: A Contribution to the Psychology of Style [Wilhelm Worringer] on *FREE* shipping on qualifying offers. Reprint of. We regard as this counter-pole an aesthetics which proceeds not from man’s urge to empathy, but from his urge to abstraction. Just as the urge to empathy as a. Worringer’s classic study argues that in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform.
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Comparison with the physical dread of open places, a pathological condition to which certain people are prone, will perhaps better explain what we mean by this spiritual dread of space. Thus the various gradations of the feeling about the world can be gauged from the stylistic evolution of art, as well as from the theogony of the peoples.
Marije de Wit rated it it was amazing Jun 13, It would be a history of the feeling about the world and, as such, would stand alongside the history of religion as its equal. A Study of English Literary Doctrine A Contribution worringer abstraction and empathy the Psychology of Worringer abstraction and empathy. It will only assume the shape of a comprehensive aesthetic system when it has united with the lines that lead from the opposite pole.
Physical shape and large font of this book is highly satisfying. Thus all valuations made from our standpoint, from the point of view of our modern aesthetics, which passes judgement exclusively in the sense of the Antique or the Renaissance, are from a higher standpoint absurdities and platitudes. Maria-Luisa Monaghan rated it really liked it Feb 28, Worringer abstraction and empathy must become the supreme dogma of all objective consideration of the history of art. From Wikipedia, the free encyclopedia.
Dictionary of Art Historians.
Abstraction and Empathy: A Contribution to the Psychology of Style by Wilhelm Worringer
His claim that “we sense ourselves in worringer abstraction and empathy forms of a work of art” led to a formula, “The aesthetic sense is an worringer abstraction and empathy sense of the self.
The simplest formula that expresses this kind of aesthetic experience runs: Other editions – View all Abstraction and Empathy: But activity is that in which I experience an expenditure of energy. By the feeling about the world I mean the psychic state in which, at any given time, mankind found itself in relation to the cosmos, in relation to the phenomena of the external world.
Tormented by the entangled inter-relationship and flux of the phenomena of the outer world, such peoples were dominated by an immense need for tranquillity.
Abstraction and Empathy: A Contribution to the Psychology of Style
Ahd is therefore not a matter of, for example, analysing the conditions under which a landscape appears beautiful, but of an analysis of the conditions under which the representation of this landscape becomes a work of art. Not that primitive man sought more urgently for regularity in nature, or experienced regularity in it more wroringer just the reverse: Customers who viewed this item also viewed. The cover was the one for Worringer’s book, but the title and worringer abstraction and empathy did not correspond to the insides of the book which was a completely different book.
The simple line and its development in purely geometrical regularity was bound to offer ane greatest possibility of happiness to the man disquieted by the obscurity and entanglement of phenomena.
The less mankind has succeeded, by virtue of its spiritual cognition, in entering worringer abstraction and empathy a relation of friendly confidence with the appearance of the outer world, the more forceful is the dynamic that leads to the striving after this highest abstract beauty. For a long time.
Views Read Edit View history. Amazon Inspire Digital Educational Resources. Hilton Kramer s introduction considers the influence of Worringer s thesis and places his book in historical context. This presupposition includes within it the inference that the specific laws of art have, in principle, nothing to do with the aesthetics of natural beauty. In the geometric line, however, and in geometrical forms as a worringer abstraction and empathy, they have been taken out of the worringer abstraction and empathy context and the careless flux of the forces of nature, and worrinyer become visible on their wbstraction [Theodor] Lipps, Aesthetik, What appears from our standpoint the greatest distortion must have been at the time, for its creator, the highest beauty and the fulfilment of his artistic volition.
Wilhelm Worringer – Wikipedia
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American Annd Propaganda in Occupied Germanypp. In this text, Worringer identifies two opposing tendencies pervading the history of art from ancient times through the Enlightenment. By its nature, this activity is an activity of the will. Concerning the Spiritual in Art. Page 1 of 1 Worringer abstraction and empathy over Page 1 of 1. It holds its beauty only through our own vital feeling, which, in abstracton mysterious manner, we project into it.
Obviously this reprint process is flawed.
Worringer’s little book is an enduring classic. The sensation of happiness that is released in us by the reproduction of organically beautiful vitality, what modern man designates beauty, is a gratification of that inner need for self-activation in which Lipps sees the presupposition of the process of empathy.
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