AEsthetic Analysis |
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Risultati 1-3 di 27
Pagina 39
But the difference ' between perceiving clearly and understanding distinctly is not
the great difference that we are sometimes led to think it . And the most obvious
fact about knowing works . of art is that direct apprehension is the final adequate
...
But the difference ' between perceiving clearly and understanding distinctly is not
the great difference that we are sometimes led to think it . And the most obvious
fact about knowing works . of art is that direct apprehension is the final adequate
...
Pagina 155
The work of art is ęsthetically adequate to just the degree to which the
apprehension of the constituent elements in the structure they compose , and
present to a normally sensitive human organism , results in this concretely
present feeling .
The work of art is ęsthetically adequate to just the degree to which the
apprehension of the constituent elements in the structure they compose , and
present to a normally sensitive human organism , results in this concretely
present feeling .
Pagina 202
But if criticism is single - mindedly engaged on telling us what sort of character
specific works of art have , and to what degree they have them , it is plain that the
adequately functioning critic will have a whole set of such criteria at his disposal
to ...
But if criticism is single - mindedly engaged on telling us what sort of character
specific works of art have , and to what degree they have them , it is plain that the
adequately functioning critic will have a whole set of such criteria at his disposal
to ...
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abstract accent actual adequate ęsthetic analysis appears apply apprehended artists aspects attention basic basis become body called character characteristic clear clearly color complex concrete conscious constitute counts course criticism defined definitely determinate direct directly discriminating distinct distinguished division Dominant duration effect elements example exhibited experience expressive fact familiar feeling felt field formal function fundamental give given grasp grouping hence human indicated individual intelligible intensity interest intervals intrinsic involved knowledge least length less LIBRARY limited mark matter means measure merely nature notes object obvious octave once organism particular physical pitch possible present processes qualitative range relations relevant response rhythm scale scheme selected sense sensuous simply single sort sound spatial specific structure surface systematic taken temporal pattern things tion Tonic UNIVERSITY OF CALIFORNIA variations various verse vibration whole