Psychology, the Motive Powers: Emotions, Conscience, WillScribner, 1887 - 267 páginas "In this volume, I unfold the characteristics of the motive powers, as they are called the orective, the appetent, the impulsive powers; the feelings, the sentiments, the affections, the heart, as distinguished from the Gnostic, the cognitive, the intellect, the understanding, the reason, the head. These motive powers fall under three heads: the emotions, the conscience, the will. It is not to be understood that these are unconnected with each other, or with the cognitive; emotions contain an idea which is cognitive. The conscience may be regarded as combining characteristics of each of the two grand classes; being cognitive as discerning good and evil, and motive as leading to action; the will has to use the other powers as going on to action. Emotion occupies more room than the other two in this treatise, inasmuch as its operations are more varied, and as the account usually given of it (so it appears to me) is more defective"--Introduction. (PsycINFO Database Record (c) 2010 APA, all rights reserved). |
No interior do livro
Resultados 1-5 de 29
Página iv
... Beauty III . Intellectual Beauty . IV . The Idea raising the Esthetic Feeling V. What is the True Theory of Beauty ? VI . Influence of Association on Taste VII . Complexity of the Esthetic Affections 130 134 139 143 148 150 151 SECTION ...
... Beauty III . Intellectual Beauty . IV . The Idea raising the Esthetic Feeling V. What is the True Theory of Beauty ? VI . Influence of Association on Taste VII . Complexity of the Esthetic Affections 130 134 139 143 148 150 151 SECTION ...
Página v
... Beauty in Natural Objects XII . The Fine Arts CONTINUOUS EMOTIONS . I. Affections and Passions II . Emotions coming up in Groups • III . Temperament • IV . Temper V. The Prepossessions VI . Prejudice VII . Fickleness of Feeling VIII ...
... Beauty in Natural Objects XII . The Fine Arts CONTINUOUS EMOTIONS . I. Affections and Passions II . Emotions coming up in Groups • III . Temperament • IV . Temper V. The Prepossessions VI . Prejudice VII . Fickleness of Feeling VIII ...
Página 103
... beauty . " Grief , " says Cogan , " is sometimes considered as sy nonymous with sorrow . At other times it expresses more silent , deep , and painful affections ; such as are inspired by domestic calamities ; particularly by the loss of ...
... beauty . " Grief , " says Cogan , " is sometimes considered as sy nonymous with sorrow . At other times it expresses more silent , deep , and painful affections ; such as are inspired by domestic calamities ; particularly by the loss of ...
Página 130
... Beauty , the Sense of the Ludicrous . The French writers spoke of them as Gout , which English and Scotch writers trans- lated Taste , and discussed the nature and pleasures of Taste ; and the phrase is still habitually employed in our ...
... Beauty , the Sense of the Ludicrous . The French writers spoke of them as Gout , which English and Scotch writers trans- lated Taste , and discussed the nature and pleasures of Taste ; and the phrase is still habitually employed in our ...
Página 131
... beauty . This beauty consists essentially in order opposed to disorder , in harmony and proportion . It is not sensation nor utility ; it is mind , king of heaven and earth , bringing forms , sounds , and colors under limi- tation . He ...
... beauty . This beauty consists essentially in order opposed to disorder , in harmony and proportion . It is not sensation nor utility ; it is mind , king of heaven and earth , bringing forms , sounds , and colors under limi- tation . He ...
Outras edições - Ver tudo
Psychology The Motive Powers Emotions Conscience Will James McCosh Pré-visualização indisponível - 2021 |
Palavras e frases frequentes
action æsthetic affection animals appetence arises Aristotle association of ideas beauty become bodily body brain burst called cause centre character cherished Cogan colors conscience contemplate convulsions corners countenance Darwin deed depression depressores anguli oris disappointment element emotion enjoyment evil excitement exertion expression eyebrows eyelids fear feeling flow forms give gratified grief habits hand happiness heart hope hopes and fears impulse inappetible individual influence intellectual J. S. Mill JAMES MCCOSH kind lachrymal gland laughter Laura Bridgman lead Levator anguli oris lips look ment mental mind moral mother motive mouth moved muscles nature nerves ness nostrils noticed object Orbicularis oris Orbicularis palpebrarum organic ourselves pain passion perception person phantasm pleasant pleasure principle produced raised regard rise scenes SECTION seen sensation sense sentiment sion sorrow soul spirit strong sublime supposed swayed taste tears tences things thought tion uncon whole
Passagens conhecidas
Página 159 - ... only from a lucky hitting upon what is strange : sometimes from a crafty wresting obvious matter to the purpose. Often it consisteth in one knows not what, and springeth up one can hardly tell how. Its ways are unaccountable, and inexplicable ; being answerable to the numberless rovings of fancy, and windings of language.
Página 151 - Sweet bird ! thy bower is ever green, Thy sky is ever clear ; Thou hast no sorrow in thy song, No winter in thy year...
Página 102 - Disguise fair nature with hard-favour'd rage; Then lend the eye a terrible aspect; Let it pry through the portage of the head Like the brass cannon; let the brow o'erwhelm it As fearfully as doth a galled rock O'erhang and jutty his confounded base, Swill'd with the wild and wasteful ocean.
Página 120 - In thoughts from the visions of the night, When deep sleep falleth on men, Fear came upon me, and trembling, Which made all my bones to shake. Then a spirit passed before my face; The hair of my flesh stood up...
Página 145 - Thou crownest the year with thy goodness ; and thy paths drop fatness. They drop upon the pastures of the wilderness: and the little hills rejoice on every side. The pastures are clothed with flocks ; the valleys also are covered over with corn; they shout for joy, they also sing.
Página 122 - The frightened man at first stands like a statue motionless and breathless, or crouches down as if instinctively to escape observation. The heart beats quickly and violently, so that it palpitates or knocks against the ribs; but it is very doubtful...
Página 66 - When I am assailed with heavy tribulations I rush out among my pigs rather than remain alone by myself. The human heart is like a millstone in a mill ; when you put wheat under it, it turns and grinds and bruises the wheat to flour ; if you put no wheat, it still grinds on, but then 'tis itself it grinds and wears away.
Página 159 - ... an affected simplicity, sometimes a presumptuous bluntness giveth it being ; sometimes it riseth only from a lucky hitting upon what is strange, sometimes from a crafty wresting obvious matter to the purpose ; often it consisteth in one knows not what, and springeth up one can hardly tell how. Its ways are unaccountable and inexplicable, being answerable to the numberless rovings of fancy and windings of language.
Página 158 - Sometimes it lieth in pat allusion to a known story, or in seasonable application of a trivial saying, or in forging an apposite tale : sometimes it playeth in words and phrases, taking advantage from the ambiguity of their sense, or the affinity of their sound...
Página 105 - Persons suffering from excessive grief often seek relief by violent and almost frantic movements, as described in a former chapter; but when their suffering is somewhat mitigated, yet prolonged, they no longer wish for action, but remain motionless and passive, or may occasionally rock themselves to and fro. The circulation becomes languid ; the face pale ; the muscles flaccid ; the eyelids droop; the head hangs on the contracted chest ; the lips, cheeks, and lower jaw all sink downwards from their...
Referências a este livro
Stress and Anxiety, Volume 13 Charles Donald Spielberger,Irwin G. Sarason Pré-visualização limitada - 1991 |