Dictionary of the History of Ideas Studies of Selected Pivotal Ideas |
1 | V. |
IV. |
VI. |
VI. |
VI. |
V. |
V. |
V. |
II. |
IV. |
IV. |
I. |
I. |
I. |
VI. |
V. |
V. |
VI. |
VI. |
III. |
1 | I. |
1 | VI. |
I. |
III. |
2 | VI. |
III. |
IV. |
VI. |
VI. |
V. |
1 | IV. |
1 | VII. |
V. |
I. |
1 | III. |
1 | III. |
1 | III. |
VI. |
1 | VI. |
VI. |
VI. |
III. |
2 | VI. |
III. |
I. |
VI. |
VI. |
VI. |
VI. |
VI. |
4 | V. |
1 | IV. |
1 | IV. |
IV. |
VI. |
3 | IV. |
1 | III. |
VI. |
VI. |
109 | V. |
29 | V. |
1 | VI. |
2 | III. |
II. |
I. |
4 | II. |
3 |
1 |
VII. |
2 | I. |
I. |
III. |
VI. |
VI. |
V. |
VII. |
V. |
V. |
V. |
Dictionary of the History of Ideas | ||
BIBLIOGRAPHY
Pierre Abélard, Logica “Ingredientibus,” ed. B. Geyer, in
Beiträge zur Geschichte der Philosophie und Theologie des
Mittelalters, Vol. XXI, Nos. 1-3 (Münster, 1933). Alanus ab
Insulis, Anticlaudianus, Patrologia Latina (Paris, 1844-64),
210, 504. L. B. Alberti, De re aedificatoria (Florence, 1485),
Book VI, Ch. 2; Book IX, Ch. 5. Albertus Magnus,
Opusculum de pulchro et bono, ed. P. Mandonnet, in Santi
Thomae Aquinatis Opuscula omnia, Vol. V (Paris, 1927).
Alexander of Hales, Summa Alexandri (Quaracchi, 1882),
II, 103, sec. 175. Aristotle, Metaphysics, trans. W. D. Ross
(Oxford, 1908); idem, Poetics, trans. S. H. Butcher as Aris-
totle's Theory of Poetry and Fine Art, with a Critical Text
and Translation of The Poetics, 4th ed. (London, 1920). K.
Aschenbrenner, “Forma i formalizm,” Studia Estetyczne, 6
(Warsaw, 1969). Saint Augustine, De ordine, II 15, 42; idem,
De vera religione, XCI 77; idem, De musica, VI 12, 38; idem,
De natura boni, 3; English trans. in The Library of Christian
Classics. F. Baldinucci, Vocabolario toscano dell'arte del
disegno (Florence, 1681). Monroe Beardsley, Aesthetics from
1966). Clive Bell, Art (London, 1914). P. Bembo, Gli Asolani
(1525; Turin, 1932). Bernard of Clairvaux, Apologia ad
Guillelmum, in Opp. S. Bernhardi, ed. J. Mabillon, 6 vols.
(Paris, 1667-90). Saint Bonaventura, Opera, 10 vols., II Sent.
D. 34a. 2q. 3 (Quaracchi, 1882-1904), II, 814. G. Cardano,
De subtilitate (Nuremberg, 1550), p. 275. E. Cassirer, Essay
on Man, 2nd ed. (New York, 1953). Clarembaldus of Arras,
Expositio super libros Boetii De Trinitate, ed. W. Jansen, in
Der Kommentar des Clarembaldus von Arras zu Boethius
De Trinitate, ein Werk aus der Schule von Chartres im 12
Jahrh. (Breslau, 1926), p. 91. N. Cusanus, De ludo globi,
in Opera omnia (Basel, 1565), p. 219. V. Danti, Trattato della
perfetta proporzione (Florence, 1567). L. Dolce, Dialogo
della pittura intitolato l'Aretino (Venice, 1557). Demetrius,
De elocutione (Venice, 1508). Marsilio Ficino, Commentar-
ium in Convivium, in Opera (Basel, 1561), p. 1336. K.
Fiedler, Schriften über Kunst (Munich, 1913-14). H. Focil-
lon, la vie des formes (Paris, 1934). Roger Fry, Vision and
Design (London, 1920; reprint New York, 1956). M. G.
Ghyka, Esthétique des proportions dans la nature et dans
les arts (Paris, 1927); idem, le nombre d'or (Paris, 1931).
B. Gracián, Agudeza y arte del ingenio (Huesca, 1648).
Robert Grosseteste, Hexaemeron, MS, British Museum, p.
147v. cf. E. de Bruyne, Études d'esthétique médiévale
(Ghent, 1946), III, 133. A. von Hildebrand, Das Problem
der Form... (Strasbourg, 1893), trans. M. Meyer and
R. M. Ogden (New York, 1907). R. Ingarden, “On Form and
Content of a Literary Work of Art,” Studia z Estetyki, 2
(Warsaw, 1958), distinguishes nine meanings of “form” in
contemporary usage. Isidore of Seville, Sententiae, Ch. I,
8, 18, in Patrologia Latina, ed. J. P. Migne, 83, 551; idem,
Differentiae, ibid., pp. 1-59. W. Kandinsky, Ueber das
Geistige in der Kunst (Munich, 1910), trans. M. T. H. Sadler,
as The Art of Spiritual Harmony (London, 1914). I. Kant,
Critique of Judgment (1790), trans. J. H. Bernard (London,
1914), sec. 52. A. Lalande, Vocabulaire philosophique, 9th
ed. (Paris, 1962), article on “Forme.” Ch. Le Brun, Confér-
ence sur l'expression générale et particulière des passions
(Paris, 1715). Le Corbusier (Charles Jeanneret), “Les yeux
qui ne voient pas,” esprit Nouveau, 8 (1921), 10. G. P.
Lomazzo, Trattato della pittura, scultura et architettura
(Milan, 1584), trans. R. H. Student (1598); idem, Idea del
tempio della pittura (Milan, 1590). Mathieu of Vendôme,
ars versificatoria, in E. Faral, Les arts poétiques du XIIe
et du XIIIe siècle (Paris, 1924). P. Mondrian, “De nieuwe
Beeldjng in de Schilderkunst,” De Stijl (1917, 1918); cf. M.
Seuphor, Piet Mondrian, Life and Work (New York, 1958),
p. 144. E. Monod-Herzen, Principes de morphologie générale,
Vol. I (Paris, 1956). G. Morpurgo-Tagliabue, L'esthétique
contemporaine (Milan, 1960). William of Ockham, Sum-
mulae in libros physicorum, Book III, Ch. 17, p. 69, cf. L.
Baudry, le Tractatus de principiis theologiae attribué à
Guillaume d'Occam (Paris, 1936); idem, Guillaume d'Occam,
sa vie, ses oeuvres, ses idées (Paris, 1950). A. Palladio,
Quattro libri dell'architettura (Venice, 1570). Philodemus,
Herculaneum papyri, 2, XI, 165, in Ch. Jensen, Philodemos
über die Gedichte (Leipzig, 1923). Plato, Philebus, Sophist,
in Plato's Dialogues, trans. B. Jowett, 4th ed. (Oxford, 1953).
Plotinus, The Enneads, trans. S. MacKenna, 5 vols. (London,
1917-30). G. Porretanus, In Boethii De Trinitate (Basel, 1570),
p. 1138. Duns Scotus, Super praedicamenta, q. 36. n. 14,
in Opera omnia, ed. L. Vivès (Paris, 1891-95), I, 436f. Sextus
Empiricus, Adversus mathematicos VII, 106. Stobaeus,
Eclogue IV 1, 40. W. Tatarkiewicz, History of Aesthetics,
2 vols. (The Hague and Paris, 1970). H. Testelin, Sentiments
... sur la pratique de la peinture et sculpture (Paris, 1680),
p. 37. Thomas Aquinas, In divinis nominibus, c. IV, lect.
5, ed. P. Mandonnet (Paris, 1910), p. 363; idem, Summa
theologiae, II a IIae, 180a. 2 ad 3. Ulrich of Strassburg, De
pulchro, ed. M. Grabmann, in Sitzungsberichte der bayer-
ischen Akademie der Wissenschaften, Philos.-philol. Klasse,
Jahrgang 1925 (Munich, 1926). Vitruvius, De architectura.
I 2, 1-9. B. Weinberg, A History of Literary Criticism in
the Italian Renaissance, 2 vols. (Chicago, 1961). St. I.
Witkiewicz, Nowe formy w malarstie (Warsaw, 1919; 1959).
H. Wölfflin, Renaissance und Barock (1888; Basel, 1961);
idem, Kunstgeschichtliche Grundbegriffe (1915; 6th ed.
Munich, 1923), trans. as Principles of Art History (London
1923; New York, 1929). cf. idem, The Sense of Form in Art
(New York, 1958). W. Worringer, Abstraktion und Einfühling
(Munich, 1908). R. Zimmerman, Geschichte der Aesthetik
(Vienna, 1958); idem, Allgemeine Aesthetik als Formwissen-
schaft (Vienna, 1965). F. Zuccaro, L'idea de' pittori,
scultori, ed architetti (Turin, 1607).
W. TATARKIEWICZ
[See also Beauty; Iconography; Impressionism; Naturalismin Art; Structuralism; Style.]
Dictionary of the History of Ideas | ||