AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 46
Pagina 53
... concrete content are themselves structural . Like pitch , time , whatever else it may be , is an order . That space is an order we all realize from an elementary acquaintance with geometry . Two lines on a surface can not remain merely ...
... concrete content are themselves structural . Like pitch , time , whatever else it may be , is an order . That space is an order we all realize from an elementary acquaintance with geometry . Two lines on a surface can not remain merely ...
Pagina 147
... concrete feeling and æsthetic objects are concrete wholes . An experience is æsthetic just so far as it is the full felt response to what is directly given ( though given only on condition that there is the specific response as one of ...
... concrete feeling and æsthetic objects are concrete wholes . An experience is æsthetic just so far as it is the full felt response to what is directly given ( though given only on condition that there is the specific response as one of ...
Pagina 177
... concrete wholes , and our feeling of them is complicated by all that enters into a total organic response to the concrete presentation before us . Æsthetics has not reached the point where a fully adequate analysis of a whole concrete ...
... concrete wholes , and our feeling of them is complicated by all that enters into a total organic response to the concrete presentation before us . Æsthetics has not reached the point where a fully adequate analysis of a whole concrete ...
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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