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Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

• Title: Memória e Amor
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  • Prova abundante disso reside na maneira como a arte se desenvolveu. Originalmente era uma com a vida religiosa. Nas eras primitivas da humanidade, ela era imbuída nos cultos religiosos. As imagens que os homens formavam de seus deuses eram a fonte das artes plásticas. A título de exemplo, recordemos os Mistérios da Samotrácia a que alude Goethe na segunda parte de Fausto, onde fala dos Cabiros. [Vide ciclo de palestrasGoetheanism as an impulse for man's transformation,Dornach, janeiro de 1919.] Em meu estúdio em Dornach tentei fazer um desenho desses Cabiros. E o que resultou disso? Foi algo muito interessante. Simplesmente me propus a desvendar intuitivamente a maneira como os Cabiros teriam aparecido nos Mistérios da Samotrácia. E imagine só: cheguei a três jarros, mas jarros, é verdade, moldados plástica e artisticamente. A princípio fiquei pasmo, embora Goethe tenha realmente falado de jarros. O assunto ficou claro para mim apenas quando descobri que esses jarros ficavam sobre um altar: então, algo semelhante a incenso era colocado neles, as palavras sacrificiais eram cantadas, e pelo poder das palavras de sacrifício – que nos tempos mais antigos da humanidade carregavam uma força de estímulo vibratório bastante diferente de qualquer coisa possível hoje – a fumaça do incenso era formada na imagem desejada da divindade. Assim, no ritual, o cântico imediatamente se expressava plasticamente na fumaça do incenso.
• Title: New Spirituality: Lecture 3: The New Spirituality and the Christ Experiance of the Twentieth Century - 2
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  • existed in Greece, primarily as artistic beauty but also as a certain insight; and how already in
• Title: New Spirituality: Lecture 4: The New Spirituality and the Christ Experiance of the Twentieth Century - 3
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  • artistic nature, but in the 1780s and the beginning of the 1790s he was strongly influenced by
• Title: New Spirituality: Lecture 5: The New Spirituality and the Christ Experiance of the Twentieth Century - 4
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  • human system of ideas; but only, if I can put it so, artistic elaborations of it. In neither
  • belong to an artistic pedagogy and didactics to be able to discern that one child is suited for
• Title: New Spirituality: Lecture 6: The New Spirituality and the Christ Experiance of the Twentieth Century - 5
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  • judgement arose. All that was developed for the affairs of the religious life, the artistic life
• Title: "Heaven and Earth will pass away but my words will not pass away"
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  • perception; each separate form must be artistically created — I
  • the old mediums of artistic production.
• Title: Meditative Knowledge of Man: Lecture I: The Pedagogy of the West and of Central Europe: The Inner Attitude of the Teacher
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  • of artistic speech is the most important. Also the second of 15 lectures given
• Title: Meditative Knowledge of Man: Lecture II: The Three Fundamental Forces in EducatioN
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  • of artistic speech is the most important. Also the second of 15 lectures given
  • artistically, that as a group [
  • that would shift over from the more abstract lingual form to the artistic.
  • scientific into the artistic, even in the shaping of his thoughts. But only
  • through the artistic do we grasp the world. And we can always say, the man
  • body, only when your knowledge assumes an artistic form, do you become a
  • from science to an artistic grasp of the world, from the moon-calf to the
• Title: Meditative Knowledge of Man: Lecture III: Spiritual Knowledge of Man as the Fount of Educational Art
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  • of artistic speech is the most important. Also the second of 15 lectures given
• Title: Meditative Knowledge of Man: Lecture IV: The Art of Education Consists of Bringing Into Balance the Physical and Spiritual Nature of the Developing Human Being
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  • of artistic speech is the most important. Also the second of 15 lectures given
  • — as I have indicated in my article on the artistic
  • artistic education. What does this mean?
  • true artistic treatment in education we can avoid that even in a man with
  • education one has to create an artistic balance. Because if one does not
  • artistic, creative pedagogy.
• Title: Social Understanding: Lecture II: Social Understanding Through Spiritual Scientific Knowledge
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  • of artistic speech is the most important. Also the second of 15 lectures given
• Title: Lecture: Art As A Bridge Between The Sensible And The Supersensible
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  • — we were talking about artistic monuments
• Title: Raphael's Mission in the Light of the Science of the Spirit
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  • realms of the spiritual, but assumes artistic form — much as
  • spirit, with the Greek artistic mood and sense for beauty,
  • we can then say: Through what he created artistically, Raphael
• Title: Leonardo's Spiritual Stature: Lecture
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  • this wall as something of an artistic miracle, not only in
  • year he went about with the greatest artistic intentions, with
  • ideas both in his written works and in his artistic
• Title: Fairy Tales: in the light of Spiritual Investigation
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  • Goethe who attempted, alongside his artistic
  • than do the sources of creativity and artistic appreciation
  • tragic, as well as other forms of artistic expression, results
  • aesthetic, artistic enjoyment of the fairy tale may
  • frequently — not only in artistic, but also in
  • a saga, or if one is of an artistic disposition,
  • has been presented artistically in pictures is interpreted
  • hand, nothing of the artistic form of the fairy tale is
  • gradually comes to feel that in all conscious artistic
• Title: The Worldview of Herman Grimm in Relation to Spiritual Science
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  • transformed it artistically, who have utilized it for cultural
  • his literary and artistic abilities.
  • research, which Herman Grimm so often touches upon in artistic
  • artistic soul of Herman Grimm touches upon these facts of the
• Title: Impulse for Renewal: Lecture IV: Anthroposophy and Pedagogy
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  • as an artistic soul principle, something more pure and splendid
  • through which the child in an artistic way can be active in his
  • total being in the artistic form of writing which can evolve
  • artistic way. Out of pedagogic-artistic principles it commences
  • Working from an artistic basis results in the child handling
• Title: First Class, Vol. I: Lesson 4
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  • towards them. When artistically presented, however, I can
  • such excellent villains. This is possible in the artistic area,
  • possible to separate thinking from feeling in the artistic
• Title: The Social Question: Lecture I: The True Form of the Social Question
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  • that everything, from thought, artistic creativity and
• Title: The Social Question: Lecture III: Fanaticism Versus a Real Conception of Life in Social Thinking and Willing
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  • included in religious life, all that is artistic, literary and
  • everything from educational to artistic life need to be
• Title: The Social Question: Lecture V: The Social Will as the Basis Towards a New, Scientific Procedure
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  • relevant in religious convictions, all artistic life, all which
• Title: The Social Question: Lecture VI: What Significance does Work have for the Modern Proletarian?
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  • artistic life, a certain ethical life — what the
  • the artistic, right into the ethical life, yes, right into
• Title: Lecture: Richard Wagner and Mysticism
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  • our interpretation of these words will be put down as inartistic
• Title: Community Building
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  • sort of religious or scientific or artistic movement, but that
  • the artistic. Thus, it was quite impossible that the purpose
  • an artistic way the construction of this building, and for
  • artistic sensibilities. Yet in the background of all the work
• Title: Community Building
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  • Goetheanum possessed a very definite artistic style, born out
  • artistically appropriate style. This became the Goetheanum. At
  • Anthroposophy. For such things, the right artistic style had to
  • to the artistic style; and in the case of the Anthroposophical
• Title: Polarities in Evolution: Lecture 1: Evolution and Consciousness, Lucifer, Ahriman
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  • our creative artistic work, they are constantly trying to