INDEX OF SUBJECTS

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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