The humanities through the arts / F. David Martin, Lee A. Jacobus Martin, F. David, 1920-

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Author
Martin, F. David, 1920-
Subjects
Arts - Psychological aspects.; Arts - Psychology.; Art appreciation.
Summary
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Contents
  • Machine derived contents note: Part I Fundamentals
  • 1 The Humanities:
  • An Introduction 000
  • The Humanities: A Study of Values 000
  • Taste 000
  • Responses to Art 000
  • . PERCEPTION KEY: Echo of a Scream 000
  • . PERCEPTION KEY: Siqueiros and Blume 000
  • . PERCEPTION KEY: Guernica 000
  • . PERCEPTION KEY: Composition in
  • White, Black, and Red 000
  • Structure and Artistic Form 000
  • . PERCEPTION KEY: The Eternal City 000
  • Perception 000
  • . PERCEPTION KEY: "l(a" 000
  • Abstract Ideas and Concrete Images 000
  • . PERCEPTION KEY: "Piano and Drums" 000
  • Summary 000
  • Bibliography 000
  • 2 What is a Work of Art? 000
  • Identifying Art Conceptually 000
  • . PERCEPTION KEY: Identifying a Work of Art 000
  • Identifying Art Perceptually 000
  • Artistic Form 000
  • . PERCEPTION KEY: Goya and Adams 000
  • Participation 000
  • Participation and Artistic Form 000
  • Content 000
  • . PERCEPTION KEY: Goya and Adams Revisited 000
  • Subject Matter 000
  • Subject Matter and Artistic Form 000
  • Participation, Artistic Form and Content 000
  • . PERCEPTION KEY: Adams, Carter, and Goya 000
  • Artistic Form: Examples 000
  • . PERCEPTION KEY: Comic Strips and Lichtenstein's
  • Transformations (Figures 2-7 through 2-16) 000
  • . PERCEPTION KEY: Comic Strip and
  • Lichtenstein's Transformations, Pair 2 000
  • Transformations, Pairs 3, 4, and 5 000
  • . PERCEPTION KEY: I Can See the Whole Room and
  • There's Nobody in It! (Figure 2-7) 000
  • Subject Matter and Content 000
  • . PERCEPTION KEY: The Female Nude 000
  • 3 Being a Critic of
  • the Arts 000
  • You are Already an Art Critic 000
  • Participation and the Critic 000
  • Contents
  • mar38630fmi-xxii.indd ix 3/6/07 7:19:45 AM
  • x CONTENTS
  • Kinds of Criticism 000
  • . PERCEPTION KEY: Kinds of Criticism 000
  • Description Criticism 000
  • . PERCEPTION KEY: An Experiment
  • on a Bird in the Air Pump 000
  • Detail, Regional and Structural Relationships 000
  • . PERCEPTION KEY: Detail, Regional
  • or Structural Dominance 000
  • Interpretive Criticism 000
  • . PERCEPTION KEY: Sullivan and Le Corbusier 000
  • Form-Content 000
  • . PERCEPTION KEY: Yeats's Poem 000
  • Evaluative Criticism 000
  • . PERCEPTION KEY: Evaluative Criticism I 000
  • . PERCEPTION KEY: The Sensation Show 000
  • . PERCEPTION KEY: Mueck and Saville 000
  • Part II The Arts
  • 4 Painting 000
  • Your Visual Powers 000
  • . PERCEPTION KEY: Your Visual Powers 000
  • The Media of Painting 000
  • Tempera 000
  • Fresco 000
  • Oil 000
  • Watercolor 000
  • Acrylic 000
  • Other Media 000
  • Pigment and Binders 000
  • Elements of Painting 000
  • Line 000
  • . PERCEPTION KEY: Goya, Frankenthaler,
  • and Cezanne 000
  • . PERCEPTION KEY: Fan K'uan 000
  • Color 000
  • Texture 000
  • . PERCEPTION KEY: Texture 000
  • Composition 000
  • . PERCEPTION KEY: Principles of Composition 000
  • . PERCEPTION KEY: Composition 000
  • The Clarity of Painting 000
  • . PERCEPTION KEY: Mont Sainte-Victoire 000
  • The "All-at-Onceness" of Painting 000
  • Abstract Painting 000
  • . PERCEPTION KEY: Rothko and Music 000
  • Intensity and Restfulness 000
  • . PERCEPTION KEY: Rothko and O'Keeffe 000
  • Representational Painting 000
  • Comparison of Five Impressionist
  • Paintings 000
  • . PERCEPTION KEY: Comparison of Five
  • Impressionist Paintings 000
  • Determining the Subject Matter
  • of a Painting 000
  • . PERCEPTION KEY: Frankenthaler 000
  • Interpretation of the Self: Frida
  • Kahlo, Romaine Brooks, and
  • Rembrandt Van Rijn 000
  • . PERCEPTION KEY: Three Self-Portraits 000
  • Some Painting Styles of the
  • Twentieth Century 000
  • 5 Sculpture 000
  • Sculpture and Touch 000
  • . PERCEPTION KEY: Experiment with Touch 000
  • Sculpture and Density 000
  • Sensory Interconnections 000
  • Sculpture and Painting Compared 000
  • . PERCEPTION KEY: Rothko and Arp 000
  • Sunken-Relief Sculpture 000
  • Low-Relief Sculpture 000
  • High-Relief Sculpture 000
  • Sculpture in the Round 000
  • . PERCEPTION KEY: Pieta 000
  • mar38630fmi-xxii.indd x 3/6/07 7:19:45 AM
  • CONTENTS xi
  • Sensory Space 000
  • Sculpture and the Human Body 000
  • . PERCEPTION KEY: Exercise in
  • Drawing and Modeling 000
  • Sculpture in the Round and the
  • Human Body 000
  • . PERCEPTION KEY: Aphrodite and Venus 000
  • . PERCEPTION KEY: David, Pieta, and Aphrodite 000
  • Techniques of Sculpture 000
  • Contemporary Sculpture 000
  • Truth to Materials 000
  • . PERCEPTION KEY: Truth to Materials 000
  • Space Sculpture 000
  • . PERCEPTION KEY: Reclininc Figure,
  • Pelagos, and Brussels Construction 000
  • Protest against Technology 000
  • Accommodation with Technology 000
  • Machine Sculpture 000
  • . PERCEPTION KEY: Two Lines-Temporal I
  • and Homage to New York 000
  • Earth Sculpture 000
  • . PERCEPTION KEY: Spiral Jetty 000
  • Sculpture in Public Places 000
  • . PERCEPTION KEY: Public Sculpture 000
  • 6 Architecture 000
  • Centered Space 000
  • Space and Architecture 000
  • Chartres 000
  • Living Space 000
  • . PERCEPTION KEY: Buildings 000
  • Four Necessities of Architecture 000
  • Technical Requirements of Architecture 000
  • . PERCEPTION KEY: Parthenon and Chartres 000
  • Functional Requirements of Architecture 000
  • . PERCEPTION KEY: Form, Function,
  • Content, and Space 000
  • . PERCEPTION KEY: Guggenheim Museum 000
  • Spatial Requirements of Architecture 000
  • Revelatory Requirements of Architecture 000
  • . PERCEPTION KEY: September 11, 2001 000
  • . PERCEPTION KEY: Values and Architecture 000
  • Earth-Rooted Architecture 000
  • Site 000
  • Gravity 000
  • Raw Materials 000
  • . PERCEPTION KEY: Architecture and Materials 000
  • Centrality 000
  • Sky-Oriented Architecture 000
  • . PERCEPTION KEY: Sagrada Familia 000
  • Axis Mundi 000
  • Defi ance of Gravity 000
  • Integration of Light 000
  • Earth-Resting Architecture 000
  • Earth-Dominating Architecture 000
  • . PERCEPTION KEY: Palazzo Farnese 000
  • . PERCEPTION KEY: The National Gallery
  • and the New East Wing 000
  • . PERCEPTION KEY: Earth-
  • Dominating Architecture 000
  • Combinations of Types 000
  • . PERCEPTION KEY: The Palazzo Farnese and
  • the Long Island Federal Courthouse 000
  • . PERCEPTION KEY: Gehry 000
  • Two Contemporary Architects:
  • Zaha Hadid and Santiago Calatrava 000
  • . PERCEPTION KEY: Two Architects,
  • Urban Planning 000
  • . PERCEPTION KEY: City Planning 000
  • . PERCEPTION KEY: Three Urban Views 000
  • 7 Literature 000
  • Spoken Language and Literature 000
  • . PERCEPTION KEY: Dylan Thomas 000
  • Literary Structures 000
  • mar38630fmi-xxii.indd xi 3/6/07 7:19:46 AM
  • xii CONTENTS
  • The Narrative and the Narrator 000
  • . PERCEPTION KEY: "Piano" 000
  • . PERCEPTION KEY: "Paralytic" 000
  • The Episodic Narrative 000
  • The Organic Narrative 000
  • . PERCEPTION KEY: William Butler Yeats 000
  • The Quest Narrative 000
  • . PERCEPTION KEY: The Quest Narrative 000
  • The Lyric 000
  • . PERCEPTION KEY: "When I Have Fears " 000
  • . PERCEPTION KEY: "Pied Beauty" 000
  • . PERCEPTION KEY: "A Noiseless Patient Spider" 000
  • . PERCEPTION KEY: Varieties of Lyric 000
  • Literary Details 000
  • Image 000
  • . PERCEPTION KEY: Conrad's Youth 000
  • . PERCEPTION KEY: John Donne 000
  • . PERCEPTION KEY: "The Retired Offi cial
  • Yuan's High Pavilion" 000
  • Metaphor 000
  • . PERCEPTION KEY: Shakespeare's 73rd Sonnet 000
  • Symbol 000
  • . PERCEPTION KEY: "The Sick Rose" 000
  • . PERCEPTION KEY: Crime and Punishment 000
  • Irony 000
  • Diction 000
  • . PERCEPTION KEY: "Upon Julia's Clothes" 000
  • . PERCEPTION KEY: Psalm 23 000
  • 8 Drama 000
  • Aristotle and the Elements of Drama 000
  • . PERCEPTION KEY: Shakespeare
  • and Arthur Miller 000
  • Dialogue and Soliloquy 000
  • . PERCEPTION KEY: Soliloquy 000
  • Imitation and Realism 000
  • An Alternative Theory of Tragedy 000
  • . PERCEPTION KEY: Hegel 000
  • Archetypal Patterns 000
  • . PERCEPTION KEY: Archetypes 000
  • Genres of Drama: Tragedy 000
  • The Tragic Stage 000
  • . PERCEPTION KEY: The Proscenium Stage 000
  • Shakespeare's Romeo and Juliet 000
  • . PERCEPTION KEY: Drama and Music 000
  • . PERCEPTION KEY: Tragedy 000
  • Comedy: Old and New 000
  • . PERCEPTION KEY: Type Characters 000
  • . PERCEPTION KEY: Old and New Comedy 000
  • Tragicomedy: The Mixed Genre 000
  • A Play for Study: The Bear 000
  • . PERCEPTION KEY: Chekhov's The Bear 000
  • Musical Comedy 000
  • . PERCEPTION KEY: Musical Comedy 000
  • Modern Drama 000
  • 9 Music 000
  • Hearing and Listening 000
  • . PERCEPTION KEY: Hearing and Listening 000
  • The Elements of Music 000
  • Tone 000
  • Consonance 000
  • Dissonance 000
  • Rhythm 000
  • Tempo 000
  • Melodic Material: Melody, Theme, and Motive 000
  • Counterpoint 000
  • Harmony 000
  • Dynamics 000
  • Contrast 000
  • The Subject Matter of Music 000
  • Feelings 000
  • Two Theories: Formalism and
  • Expressionism 000
  • Sound 000
  • . PERCEPTION KEY: The Subject Matter of Music 000
  • mar38630fmi-xxii.indd xii 3/6/07 7:19:46 AM
  • CONTENTS xiii
  • Tonal Center 000
  • . PERCEPTION KEY: "Swing Low, Sweet Chariot" 000
  • Musical Structures 000
  • Theme and Variations 000
  • Rondo 000
  • Fugue 000
  • Sonata Form 000
  • . PERCEPTION KEY: Sonata Form 000
  • Fantasia 000
  • The Symphony 000
  • . PERCEPTION KEY: The Sym.
Bookmark
http://trove.nla.gov.au/work/6093776
Work ID
6093776

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