AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 118
... English poetry . Our own present attempt will be limited to discriminat- ing the temporal pattern in two familiar verse forms , iambic pentameter and ballad metre . But we have a difficulty to overcome at the very beginning which is ...
... English poetry . Our own present attempt will be limited to discriminat- ing the temporal pattern in two familiar verse forms , iambic pentameter and ballad metre . But we have a difficulty to overcome at the very beginning which is ...
Pagina 123
... English poetry . ) 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 that's So eat your cake and have it too say | I 6 2 3 456 1 2 3 5 really beating | fate and living | high and the couplet does not differ in temporal measure and number from : How ...
... English poetry . ) 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 that's So eat your cake and have it too say | I 6 2 3 456 1 2 3 5 really beating | fate and living | high and the couplet does not differ in temporal measure and number from : How ...
Pagina 129
... English poetry which are called , on a basis totally foreign in its origin and its terms , iambic pentameter . If metre is the measure of anything at all , it is the measure of some aspect of rhythm , and the term iambic and the term ...
... English poetry which are called , on a basis totally foreign in its origin and its terms , iambic pentameter . If metre is the measure of anything at all , it is the measure of some aspect of rhythm , and the term iambic and the term ...
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absolute pitch abstract accent acquaintance actual adequate æsthetic analysis æsthetic content æsthetic objects æsthetic theory apply apprehended artists asthetic attention basic Berkeley Berkeley blank verse CALIFORNIA LIBRARY called character characteristic clear clearly color variations complex concrete conscious constitute cretely criticism defined definitely degree determinate dimension directly discerned discriminating distinct distinguished Dominant duration elements English poetry exhibited experience expressive fact familiar feeling felt formal function fundamental give grasp hence human human voice iambic pentameter iambs indicated intelligible intrinsic knowledge length means Mediant merely musical scale nature notes obvious octave particular perception physical pitch intervals pitch pattern pitch relations Polyclitus present processes qualitative orders relevant rhythmical scale scheme selected sense sensory sensuous serial orders simply sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees UNIVERSITY OF CALIFORNIA vibration rate whole words