AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 39
... adequate knowl- edge that we want . So in æsthetics itself . Its final aim is the body of knowledge that conditions direct and adequate apprehension , makes us at home among æsthetic objects . But such apprehension in any particular ...
... adequate knowl- edge that we want . So in æsthetics itself . Its final aim is the body of knowledge that conditions direct and adequate apprehension , makes us at home among æsthetic objects . But such apprehension in any particular ...
Pagina 155
... 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 con- cretely present feeling . In one sense , then ...
... 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 con- cretely present feeling . In one sense , then ...
Pagina 159
... adequate expression . The lack of the former is fatal to æsthetic adequacy ; the possession of the latter is , for purposes of representation , often just as satis- factory as artistic genius . And once art is turned to ulterior ...
... adequate expression . The lack of the former is fatal to æsthetic adequacy ; the possession of the latter is , for purposes of representation , often just as satis- factory as artistic genius . And once art is turned to ulterior ...
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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