INDEX OF SUBJECTS
Acquired pleasure-gettings,57Acting, psychology of,52,53Activity and feeling,32-35;activity involved indolce far niente,37Æsthetic, its position as a science,1,2,4,5;its development1-3;its methods,5,6feelings,141judgment, presupposing some degree of intellectual and moral development,188of the hen,187;its development in apparent conflict with natural selection,189Agricultural rites,287Anæsthesia and self-woundings,61-65Ancestor worship,175Anger,47,48,54,62Animal display,186-202Animating idols, means of,291Aphasia,151Apolline serenityversusDionysiac rapture,105Architecture, the, of the Dyaks,274;of the Maoris,275Art, as explained by supernatural causes,12;as excitement and sedative,70,71;as connected with sexual selection,203-213;its higher and lower forms,140the, of animals,202the reliever,102-110Art-impulse, the,15,18-29,84,85,100,101,303;a racial possession of mankind,21,22;intellectualistic definitions,23Art-sense, the conditions of its development,141,142Artistic intuition,125Association between pleasure and activity,33Attract by pleasing, impulse to,24,25,186,187,214,215,233sq.“Attractive” qualities of the work of art,99Autotelic activities outside the department of art,19,20;character of art,7-15,88,304“Balls on sockets,”193Bird-shaped amulets,287Boasting adornments,222Boating-songs and dances,259,260Brilliancy, the physiological effects created by,194-197Choral dances,261Chorus, the, in the ancient drama,94Classification of instances of erotic art,231-238Clothing, the origin of,204-206,215-220Cognitio sensitiva,2Collective feeling,81,82psychology,74-85Consciousness of self,62-64Contempt, expression of, its importance in primitive tactics,268,269Couvade,280Coyness of the female,197,198Creation, artistic, involved in artistic enjoyment,18,19Criterion of art, the,7sq.Crying feasts and ceremonial wailings,59Cure, medical, of restoring people by pulling them through a narrow opening,285,286Dance,87,89,92,230Dances, choral,262;common to both sexes or separate,230,231;connected with sexual selection,233-235;with war,266,267;with work,251,253,254Dance-pantomimes, obscene,233,245Dancing girdles,215Deaf-mutes, their language,151,155Death and resurrection represented in primitive drama,182-184Decoration, 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,222Decorative art, the, of military tribes,277Demon-shields of the Dyaks,272-274Dignity,116Dionysiac state, the,64,65,105,109,112,113Dionysos, god of art and music,110Disinterestedness, the, of artistic activity.SeeAutotelic Character of ArtDrama, the earliest of imitative arts,149,150Dramatic element, the, of art,95-98“Einhaltsstreben,”150Emanations, magic theory of,281,293Emotional element, the, in art,137-139,303Emotions, the psychology of,42-55;connection between emotions and movement-sensations,44-47Enjoyment of pain,55,56-71Enlistment, dances of,266Ephemeral character of primitive art,161Epic element, the, in art,98,99Epidemics, mental,69,81Erotic art,238-248;dearth of information on,229,244;spurious instances of,245gestures and pantomimes used as expressions of joy,243,244pantomimes and dances performed with a moral intention,247,248poems,235,236,246propitiation,234-236Etiological myths,171,172Euhemerism,168,169Europeans as subjects of primitive art,160,166,167,178Experimentation, plays of,145Expression 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,98Extempore design,156,161“Faculté maîtresse,”118-120,126Fandango, apologue concerning the,89Fascination,103Fear,52,54,103Feeling-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,63,64Festal development of art,111“Foreign” purposes, the, in art,10-12,15-17,127,147,148,301,304-306Form and content,139French and English art, difference between,131Funeral ceremonies and art,300dances of obscene character,217Garrick, the contagious power of his acting,96Gesture-language,151-154Gracefulness,116,275,276Grief,50Grimacing, its importance for primitive tactics,270“Gymnastic” dances,92“Happiness” of the unconscious,69,70Higher and lower forms of art, distinction between,140Historical art,164-182,223and psychological methods, distinction between,16,112,148,301poems used in magical ceremonies,173History born of pride,181Histrionic factor in literature,96;in formative arts,96,97“Homo sapiens ferus,”151Humiliation,46,50Hunting and fishing rites,285,287Idea, the, its place in German-æsthetic systems,23,118Ideal of beauty, the, and sexual selection,202,213,241,242Idealistic schools of art,132Idols,174,288,291“Illusions particulières”versusessential qualities,128,129Imitation, impulse to,24;connected with the instincts,75sympathetic,59,74-85,96SeeInternal Imitation, Pathologic ImitationImpregnation by wind, rain, or sunshine,219Indispensability of accustomed sensations,58In effigiesentences,287Information and art,149-163,184,185Instantaneous muscular exertion, power of,252,253Insular life, its influence on art,259Intellectual elements of the artistic activity;their influence on the mental state of the artist,102-107Invention in primitive art,160,161Jakalele dance in Ceram,266,267Joy,48;distinguished from the sense of comic,48,49;pantomimic expression of,92-94,244“Kina” (Fuegian drama),165Limited amount of energy,36,37Lustre.SeeBrilliancyLuxury of sentimental sorrow,51.See alsoEnjoyment of PainLyre and flute, allegory of,107Maenads,65,108-110,112Magic and art,278-297two 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,288,295Masses, psychology of.SeeCollective PsychologyMeans of attraction,203-213Medical rites,284,287Military dances,265,266;used as salutation,92,93;performed before female spectators,229dresses and uniforms,270;ensigns,271;signals,263Modesty and clothing,216-218Moko tattooing used as a means of identification,175,225Moods of sadness deliberately enhanced,51Moral influence of art,108Movement-perception, the dynamogenic influence of,257Music,87Narrative art, its simplest forms,157-161Novelty, predilection for,208“Opisthotonos,”109Ornament, concealed meaning of,10and mimetic transmission of feeling,98and rhythm,91Ornaments, the, of the Dyaks,272-274;of the Maoris,275,276Pain, pantomimic expression of,39,40,93,94.See alsoFeeling-tonePantomimics, erotic,233-235,245-248;magic,11,283,284;military,265,266;narrative,152-155;representing work,250-252,257Parnassians,136,137Pathologic imitation,79Petroglyphs,175,176Phallic amulets,217;rites,284,287Phallocrypts,215,216Pictographs,149,155-157,161Pictorial art, the, of the Bushmen,237;prayers,285Play, as connected with art,29;with exercise,250,251;with the instincts,27Play-impulse,26-28,145,146,250Please, impulse to,24,25Pleasure.SeeFeeling-tonePolitical propitiation and art,299Portraiture, commemorative,174,175Practical motives for clothing and self-decoration,216,224Præsul,257Preliminary movements, their dynamogenic influence,256Pride,46,137,181,222,268Proportion,117Rain-making and rain-preventing,283,284Realism and magic,289-290Realistic movement in literature,117,118Recognition marks,190Religious doctrines influencing erotic art,246Repugnance for qualities deviating from the tribal type,209,210Retroaction from sympathisers, craving for,84Rhetoric, primitive,154Rhythm,87-91,258-260Salutation dances,92Sand paintings, the, of the Navajos,292Scarification,61,66,67Scars of the Australians explained by Koeler as means of identification,225Science as an end in itself,19,20Secondary sexual characters,190-192;activities,191Selbstzweck.SeeAutotelic Character of ArtSelf-exhibiting impulse,25Self-woundings,61,66,67Sentimentalism,136,137Sex-distinction, marks for accentuating,192,209Sexual ideal,204,213,242Social conditions influencing erotic art,238-242;expression,72-85, esp.83-85Solidarity of suffering between members of the same family,279Songs, ephemeral,159,160;erotic,235,236,246;exhorting to work,254,255,259;magic,255,256,288,295;military,267-269Sport as end in itself,20,21Storage of nutritive supply,36,37Sucking cure,285Sun-rituals,284Superstitious motives for clothing,217-219,224Surplus of vigour,26,198Symmetry,117Sympathetic imitation,59,74-85,154,155;magic.SeeMagicTangi,59Technical medium, the, of art,145;perfection in art,135,139,303Technique, its influence on decorative art,146,147Theatrical management andrégieamong the Australians,237Theurgic rites,284,288Time-sense, its high development among primitive tribes,262Trade-dances,252Traditions, primitive, preserving the memory of European visitors,166,167,178Tragedy, enjoyment of,59Transference of energy,36,37Travels described in primitive art,158-160,178Trophies,221Universal ideas, their importance in æsthetic systems,130;their place in primitive philosophy,296Vehicles of emotional transmission,120-124Vital sensation and pain,60-65Volts,286War, 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,263Werther,104,105Witches, Bacchantes, and hysteric patients,109Wordless tribes, stories about,152Work, stimulation to,252-257;regulation of,88,257-260;and art,12,88,249-260
THE END
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