INDEX OF SUBJECTS
Reading edition
Acquired pleasure-gettings, 57
Acting, psychology of, 52, 53
Activity and feeling, 32-35;
activity involved in dolce far niente, 37
Æsthetic, its position as a science, 1, 2, 4, 5;
its development 1-3;
its methods, 5, 6
feelings, 141
judgment, presupposing some degree of intellectual and moral development, 188
of the hen, 187;
its development in apparent conflict with natural selection, 189
Agricultural rites, 287
Anæsthesia and self-woundings, 61-65
Ancestor worship, 175
Anger, 47, 48, 54, 62
Animal display, 186-202
Animating idols, means of, 291
Aphasia, 151
Apolline serenity versus Dionysiac rapture, 105
Architecture, the, of the Dyaks, 274;
of the Maoris, 275
Art, as explained by supernatural causes, 12;
as excitement and sedative, 70, 71;
as connected with sexual selection, 203-213;
its higher and lower forms, 140
the, of animals, 202
the reliever, 102-110
Art-impulse, the, 15, 18-29, 84, 85, 100, 101, 303;
a racial possession of mankind, 21, 22;
intellectualistic definitions, 23
Art-sense, the conditions of its development, 141, 142
Artistic intuition, 125
Association between pleasure and activity, 33
Attract by pleasing, impulse to, 24, 25, 186, 187, 214, 215, 233 sq.
“Attractive” qualities of the work of art, 99
Autotelic activities outside the department of art, 19, 20;
character of art, 7-15, 88, 304
“Balls on sockets,” 193
Bird-shaped amulets, 287
Boasting adornments, 222
Boating-songs and dances, 259, 260
Brilliancy, the physiological effects created by, 194-197
Choral dances, 261
Chorus, the, in the ancient drama, 94
Classification of instances of erotic art, 231-238
Clothing, the origin of, 204-206, 215-220
Cognitio sensitiva, 2
Collective feeling, 81, 82
psychology, 74-85
Consciousness of self, 62-64
Contempt, expression of, its importance in primitive tactics, 268, 269
Couvade, 280
Coyness of the female, 197, 198
Creation, artistic, involved in artistic enjoyment, 18, 19
Criterion of art, the, 7 sq.
Crying feasts and ceremonial wailings, 59
Cure, medical, of restoring people by pulling them through a narrow opening, 285, 286
Dance, 87, 89, 92, 230
Dances, choral, 262;
common to both sexes or separate, 230, 231;
connected with sexual selection, 233-235;
with war, 266, 267;
with work, 251, 253, 254
Dance-pantomimes, obscene, 233, 245
Dancing girdles, 215
Deaf-mutes, their language, 151, 155
Death and resurrection represented in primitive drama, 182-184
Decoration, bodily, subserving a commemorative purpose, 223;
used as a means of frightening, 272;
as a means of individual and tribal identification, 225-227;
as magical protection, 218, 224;
denotes civic majority, 220;
executed in order to protect the skin, 224;
denoting rank or wealth, 222
Decorative art, the, of military tribes, 277
Demon-shields of the Dyaks, 272-274
Dignity, 116
Dionysiac state, the, 64, 65, 105, 109, 112, 113
Dionysos, god of art and music, 110
Disinterestedness, the, of artistic activity. See Autotelic Character of Art
Drama, the earliest of imitative arts, 149, 150
Dramatic element, the, of art, 95-98
“Einhaltsstreben,” 150
Emanations, magic theory of, 281, 293
Emotional element, the, in art, 137-139, 303
Emotions, the psychology of, 42-55;
connection between emotions and movement-sensations, 44-47
Enjoyment of pain, 55, 56-71
Enlistment, dances of, 266
Ephemeral character of primitive art, 161
Epic element, the, in art, 98, 99
Epidemics, mental, 69, 81
Erotic art, 238-248;
dearth of information on, 229, 244;
spurious instances of, 245
gestures and pantomimes used as expressions of joy, 243, 244
pantomimes and dances performed with a moral intention, 247, 248
poems, 235, 236, 246
propitiation, 234-236
Etiological myths, 171, 172
Euhemerism, 168, 169
Europeans as subjects of primitive art, 160, 166, 167, 178
Experimentation, plays of, 145
Expression of feeling, 41, 42, 47-54;
primary and secondary forms of expression, 42, 47, 52, 68, 69, 199;
expression as a mythogenic factor, 93, 94
“Expressive qualities,” the, of nature, 98
Extempore design, 156, 161
“Faculté maîtresse,” 118-120, 126
Fandango, apologue concerning the, 89
Fascination, 103
Fear, 52, 54, 103
Feeling-tone of sensation, 30-42;
experiments on sensation, feeling and movement, 31;
dynamic conditions of feeling, 32-35;
static conditions of feeling, 35;
association between pleasure and movement, 33;
pains of restriction, 38;
pain as motor incitement, 40, 66, 253;
relative character of pleasure and pain, 56, 57;
acquired pleasure-gettings, 57;
the philosophical importance of pain, 63, 64
Festal development of art, 111
“Foreign” purposes, the, in art, 10-12, 15-17, 127, 147, 148, 301, 304-306
Form and content, 139
French and English art, difference between, 131
Funeral ceremonies and art, 300
dances of obscene character, 217
Garrick, the contagious power of his acting, 96
Gesture-language, 151-154
Gracefulness, 116, 275, 276
Grief, 50
Grimacing, its importance for primitive tactics, 270
“Gymnastic” dances, 92
“Happiness” of the unconscious, 69, 70
Higher and lower forms of art, distinction between, 140
Historical art, 164-182, 223
and psychological methods, distinction between, 16, 112, 148, 301
poems used in magical ceremonies, 173
History born of pride, 181
Histrionic factor in literature, 96;
in formative arts, 96, 97
“Homo sapiens ferus,” 151
Humiliation, 46, 50
Hunting and fishing rites, 285, 287
Idea, the, its place in German-æsthetic systems, 23, 118
Ideal of beauty, the, and sexual selection, 202, 213, 241, 242
Idealistic schools of art, 132
Idols, 174, 288, 291
“Illusions particulières” versus essential qualities, 128, 129
Imitation, impulse to, 24;
connected with the instincts, 75
sympathetic, 59, 74-85, 96
See Internal Imitation, Pathologic Imitation
Impregnation by wind, rain, or sunshine, 219
Indispensability of accustomed sensations, 58
In effigie sentences, 287
Information and art, 149-163, 184, 185
Instantaneous muscular exertion, power of, 252, 253
Insular life, its influence on art, 259
Intellectual elements of the artistic activity;
their influence on the mental state of the artist, 102-107
Invention in primitive art, 160, 161
Jakalele dance in Ceram, 266, 267
Joy, 48;
distinguished from the sense of comic, 48, 49;
pantomimic expression of, 92-94, 244
“Kina” (Fuegian drama), 165
Limited amount of energy, 36, 37
Lustre. See Brilliancy
Luxury of sentimental sorrow, 51.
See also Enjoyment of Pain
Lyre and flute, allegory of, 107
Maenads, 65, 108-110, 112
Magic and art, 278-297
two classes of, 278, 279;
by connection, 279-282, 291-294;
by likeness, 282-290;
expedients for acquiring courage in war, 265;
power of the obscene, 217;
pantomimes, 11;
songs, 288, 295
Masses, psychology of. See Collective Psychology
Means of attraction, 203-213
Medical rites, 284, 287
Military dances, 265, 266;
used as salutation, 92, 93;
performed before female spectators, 229
dresses and uniforms, 270;
ensigns, 271;
signals, 263
Modesty and clothing, 216-218
Moko tattooing used as a means of identification, 175, 225
Moods of sadness deliberately enhanced, 51
Moral influence of art, 108
Movement-perception, the dynamogenic influence of, 257
Music, 87
Narrative art, its simplest forms, 157-161
Novelty, predilection for, 208
“Opisthotonos,” 109
Ornament, concealed meaning of, 10
and mimetic transmission of feeling, 98
and rhythm, 91
Ornaments, the, of the Dyaks, 272-274;
of the Maoris, 275, 276
Pain, pantomimic expression of, 39, 40, 93, 94. See also Feeling-tone
Pantomimics, erotic, 233-235, 245-248;
magic, 11, 283, 284;
military, 265, 266;
narrative, 152-155;
representing work, 250-252, 257
Parnassians, 136, 137
Pathologic imitation, 79
Petroglyphs, 175, 176
Phallic amulets, 217;
rites, 284, 287
Phallocrypts, 215, 216
Pictographs, 149, 155-157, 161
Pictorial art, the, of the Bushmen, 237;
prayers, 285
Play, as connected with art, 29;
with exercise, 250, 251;
with the instincts, 27
Play-impulse, 26-28, 145, 146, 250
Please, impulse to, 24, 25
Pleasure. See Feeling-tone
Political propitiation and art, 299
Portraiture, commemorative, 174, 175
Practical motives for clothing and self-decoration, 216, 224
Præsul, 257
Preliminary movements, their dynamogenic influence, 256
Pride, 46, 137, 181, 222, 268
Proportion, 117
Rain-making and rain-preventing, 283, 284
Realism and magic, 289-290
Realistic movement in literature, 117, 118
Recognition marks, 190
Religious doctrines influencing erotic art, 246
Repugnance for qualities deviating from the tribal type, 209, 210
Retroaction from sympathisers, craving for, 84
Rhetoric, primitive, 154
Rhythm, 87-91, 258-260
Salutation dances, 92
Sand paintings, the, of the Navajos, 292
Scarification, 61, 66, 67
Scars of the Australians explained by Koeler as means of identification, 225
Science as an end in itself, 19, 20
Secondary sexual characters, 190-192;
activities, 191
Selbstzweck. See Autotelic Character of Art
Self-exhibiting impulse, 25
Self-woundings, 61, 66, 67
Sentimentalism, 136, 137
Sex-distinction, marks for accentuating, 192, 209
Sexual ideal, 204, 213, 242
Social conditions influencing erotic art, 238-242;
expression, 72-85, esp. 83-85
Solidarity of suffering between members of the same family, 279
Songs, ephemeral, 159, 160;
erotic, 235, 236, 246;
exhorting to work, 254, 255, 259;
magic, 255, 256, 288, 295;
military, 267-269
Sport as end in itself, 20, 21
Storage of nutritive supply, 36, 37
Sucking cure, 285
Sun-rituals, 284
Superstitious motives for clothing, 217-219, 224
Surplus of vigour, 26, 198
Symmetry, 117
Sympathetic imitation, 59, 74-85, 154, 155;
magic. See Magic
Tangi, 59
Technical medium, the, of art, 145;
perfection in art, 135, 139, 303
Technique, its influence on decorative art, 146, 147
Theatrical management and régie among the Australians, 237
Theurgic rites, 284, 288
Time-sense, its high development among primitive tribes, 262
Trade-dances, 252
Traditions, primitive, preserving the memory of European visitors, 166, 167, 178
Tragedy, enjoyment of, 59
Transference of energy, 36, 37
Travels described in primitive art, 158-160, 178
Trophies, 221
Universal ideas, their importance in æsthetic systems, 130;
their place in primitive philosophy, 296
Vehicles of emotional transmission, 120-124
Vital sensation and pain, 60-65
Volts, 286
War, its social influence, 261;
its influence on art, 261-277;
on plastic beauty, 276;
on decorative art, 275-277;
a prominent subject in history and narrative art, 178-180;
the need of stimulation for, 263
Werther, 104, 105
Witches, Bacchantes, and hysteric patients, 109
Wordless tribes, stories about, 152
Work, stimulation to, 252-257;
regulation of, 88, 257-260;
and art, 12, 88, 249-260
THE END
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