- A Portrait of the Artist 212 – 213 . Jonathan Cape, 1928
- Gorman , H. James Joyce: A Definitive Biography 133 – 133 .
- 211 – 211 . 236
- Summa Theologica Vol. I , Q. V, art. 4.
- Summa Theologica Vol. I ,
- Summa Contra Gentiles Vol. III , Ch. III; English translation by Dominican Fathers; Burns, Oates and Washbourne, 1928. (References are to the same text throughout this article.)
- Summa Contra Gentiles Vol. III , Ch. II, p. 4.
- Summa Contra Gentiles Vol. III ,
- Summa Theologiae Vol. I , Q.XXVII, art. 2; also 1, II, Q.XXXI, art. 6, in which Aquinas deals with the sense of touch.
- A Portrait of the Artist 236 – 236 .
- Commentary on the Sentences Vol. I , Dist. XXXI, Q. II, 4.
- De Veritate Q.XXII, art. I, 12.
- A Portrait of the Artist 238 – 238 .
- D'Arcy , M.C. 1937 . Thomas Aquinas 203 – 203 . O.U.P.
- Summa Theologica I, Q.V, art. 4, 1.
- Summa Theologica 2, II, Q.CLXXX, art. 2.
- Gorman . 133 – 135 .
- Gorman . 134 – 134 .
- Gorman . 133 – 133 .
- Gorman . 133 – 133 . See also A Portrait of the Artist: “The desire and loathing excited by improper esthetic means are really not esthetic emotions not only because they are kinetic in character, but also because they are not more than physical. Our flesh shrinks from what it dreads and responds to the stimulus of what its desires by a purely reflex action of the nervous system” (p. 234).
- A Portrait of the Artist 237 – 237 .
- “ Certain relations which satisfy and coincide with the stages in themselves of all esthetic apprehension ” . In A Portrait of the Artist 238 – 238 .
- A portrait of the Artist 231 – 231 .
- Gorman . 95 – 96 .
- A Portrait of the Artist 233 – 233 . See also Gorman, P. 96.
- Commentary on the Psalms (Psalm 44, verse 2).
- Gorman . 98 – 98 . “A Portrait of the Artist”, p. 235.
- Summa Contra Gentiles Vol. II , 115 – 115 . Ch. XLVIII See also Summa Theologica, I, Q.LXXXIV, art. 5, 6 and 7.
- A Portrait of the Artist 236 – 236 .
- See, for instance, the discussion of the distinction between the imagination and the possible intellect in Summa Contra Gentiles II Ch. LXVII.
- A Portrait of the Artist 244 – 244 .
- D'Arcy . Thomas Aquinas 216 – 217 .
- Summa Theologica Vol. I , Q.V., art. 6.
- Summa Contra Gentiles Vol. III , Ch. XXXVI.
- Gorman . 98 – 99 . “A Portrait of the Artist”, pp. 243–244.
- Summa Theologica Vol. 2 , II, Q.CLXXX, art. 6.
- Summa Theologica Vol. 2 , II, Q.CXLV, art. 2.
- Gorman . 99 – 99 .
- A Portrait of the Artist 244 – 244 .
- A Portrait of the Artist 241 – 241 .
- Summa Theologica Vol. I , Q.XXXIX, art. 8
- Summa Theologica Vol. I , Q.V, art. 6; “Commentary on the Sentences”, Bk. I, Dist. XXXI, Q.II, 4; “Commentary on the Psalms”, Ps. XLIV, verse 2.
- Summa Theologica Vol. 2 , II, Q.CXLV, art. 2; 2, II, Q.CLXXX, art 2; “Commentary on the Sentences”, Bk. I, Dist. III, Q.I., 1; Commentary, In Dionysium de divinis Nominibus, Ch. IV, Lect. 5.
- A Portrait of the Artist 236 – 236 .
- A Portrait of the Artist 234 – 235 .
- A Portrait of the Artist 242 – 242 .
- Summa Theologica Vol. I , Q.XXXIX, art. 8.
- Gorman . 96 – 96 .
- A Portrait of the Artist 232 – 233 .
- Gorman . 97 – 97 .
- Letter to Can Grande della Scala § 10.
- A Portrait of the Artist 243 – 243 .
Australasian Journal of Psychology and Philosophy
Volume 21, 1943 - Issue 2-3