Preface |
|
ix | |
|
|
1 | (78) |
|
1 Philosophies of the Sublime, and of the Beautiful |
|
|
7 | (26) |
|
The Feeling Tone of Sensation |
|
|
8 | (2) |
|
Apperception---Feeling Forward From Perception |
|
|
10 | (1) |
|
Aesthetic Philosophy in the Making |
|
|
10 | (2) |
|
Alexander Gottlieb Baumgarten and Aesthetica |
|
|
12 | (2) |
|
The Key Figure in Understanding the Sublime: Edmund Burke |
|
|
14 | (4) |
|
Striving for the Philosophy of the Beautiful: Immanuel Kant |
|
|
18 | (1) |
|
Erhabene (The Sublime): The Awe-Inspiring Experience |
|
|
19 | (3) |
|
From Categorization to Emergence |
|
|
22 | (6) |
|
On the Border of the Sublime and the Beautiful: Ornaments As Catalysts |
|
|
28 | (1) |
|
|
29 | (4) |
|
2 From Point and Line to Spiral: Dialogues Within Wholes |
|
|
33 | (24) |
|
Basis for Ornaments: Lines in Externally Suggested Dialogue |
|
|
36 | (2) |
|
The Starting Point: Move From a Point to a Line |
|
|
38 | (1) |
|
The Elementary Implications of Forms: Theodor Lipps' Grammar of Forms |
|
|
39 | (2) |
|
The Artistic Extension of the Point: Overcoming of Chaos |
|
|
41 | (4) |
|
Graphic Tension of Nature and Culture: Curved Versus Straight Lines |
|
|
45 | (5) |
|
Two Infinities: Open and Closed |
|
|
50 | (2) |
|
Symbolic Framing of Thresholds |
|
|
52 | (1) |
|
The Make-Up for the Home, and of the Home-Maker: South Indian Kolam |
|
|
53 | (1) |
|
Conclusions: The Adventures of a Point in Ornamenting Lines |
|
|
54 | (1) |
|
|
55 | (2) |
|
3 Flowers in Frames: Directionality in the Field |
|
|
57 | (22) |
|
Classifications of Ornaments |
|
|
58 | (7) |
|
Border That Transcends Itself: Dynamic Abstraction Suggestions |
|
|
65 | (7) |
|
General Views and Controversies Around Ornaments |
|
|
72 | (3) |
|
Conclusion: Ornaments and Social Control Efforts |
|
|
75 | (1) |
|
|
76 | (3) |
|
PART II Looking Far to See Near: Windows Into Ourselves |
|
|
79 | (82) |
|
4 Landscapes: The Feeling of Awe |
|
|
81 | (20) |
|
Nature Triggering Explosion of Sign-Making (SWIB) |
|
|
84 | (1) |
|
Totality of Panoramic Experience: Passing Through Mountain Ranges |
|
|
85 | (9) |
|
Perceiving Time Through Space: Making Meanings Out of Decay |
|
|
94 | (3) |
|
Conclusion: Nature as Experienced in Creating the Interiors of the Psyche |
|
|
97 | (1) |
|
|
98 | (3) |
|
5 Iconic Fields: Plurifunctionality of the Image |
|
|
101 | (28) |
|
Iconic Fields: Functions of Depicted Scenes |
|
|
102 | (2) |
|
Emergence of Landscape Painting |
|
|
104 | (1) |
|
Cultural Histories of Landscape Painting |
|
|
105 | (12) |
|
Time in a Timeless Image: Painting Ruins |
|
|
117 | (8) |
|
Conclusion: Capturing the Feeling Through the Field |
|
|
125 | (1) |
|
|
126 | (3) |
|
6 Architectural Forms: Silent Guidance for Human Feeling |
|
|
129 | (32) |
|
Architecture Speaks Without Words |
|
|
130 | (1) |
|
Feeling Into Our Environments: Creating the Subjective Functional Sub-Part |
|
|
131 | (1) |
|
Psychology of Architecture: Feeling Into Forms |
|
|
132 | (6) |
|
Theodor Lipps' Phenomenological Program |
|
|
138 | (10) |
|
To Summarize: Dialogicality of the Ends |
|
|
148 | (1) |
|
|
149 | (6) |
|
Columns That Are Given Human Form: Caryatides |
|
|
155 | (2) |
|
Conclusion: The Periphery That---Functionally---Is the Center |
|
|
157 | (1) |
|
|
158 | (3) |
|
PART III Embodiment of Affective Fields |
|
|
161 | (98) |
|
7 Schematization and Pleromatization |
|
|
163 | (24) |
|
Dynamic Relations Between the Schematization and Pleromatization Processes |
|
|
166 | (7) |
|
The Internal Structure of Pleromatic Signs |
|
|
173 | (4) |
|
Guided Internalization and Externalization Processes |
|
|
177 | (3) |
|
Socializing Constructive Internalization/Externalization |
|
|
180 | (3) |
|
Conclusion: Internalizing Sign Complexes as Roots for Redundancy |
|
|
183 | (1) |
|
|
184 | (3) |
|
8 Beyond the Fall: The Psyche on the Body |
|
|
187 | (28) |
|
The Naked and the Nude: Semiosis of the Whole Body |
|
|
188 | (9) |
|
|
197 | (3) |
|
Building the Semiotic Skin: Ornaments on the Body |
|
|
200 | (4) |
|
|
204 | (7) |
|
Conclusions: Cultural Construction of the Presented Body |
|
|
211 | (2) |
|
|
213 | (2) |
|
9 A Glimpse Into the Interior of the Psyche |
|
|
215 | (20) |
|
The Ornamentation of Our Subjective Interiors |
|
|
216 | (2) |
|
Coordination of Outer and Inner Ornaments |
|
|
218 | (4) |
|
The Psyche in Its Own Affective Garden |
|
|
222 | (1) |
|
What Is the Form of the Internal Affective Ornament? |
|
|
223 | (8) |
|
Conclusion: Getting Along in One's Own Culturally Reconstructed Paradise |
|
|
231 | (2) |
|
|
233 | (2) |
|
10 Genera] Conclusions: Affective Forms in Human Lives |
|
|
235 | (24) |
|
Summary of Basic Results of the Book |
|
|
237 | (4) |
|
|
241 | (2) |
|
|
243 | (16) |
About the Author |
|
259 | |