AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 170
... criticism so char- acteristically falls . Not that criticism is as such useless , but that value judgments , if they are to be made at all , are not æsthetic understanding , and are irrelevant unless they follow such understanding . The ...
... criticism so char- acteristically falls . Not that criticism is as such useless , but that value judgments , if they are to be made at all , are not æsthetic understanding , and are irrelevant unless they follow such understanding . The ...
Pagina 188
... critics , until they have found just this uniqueness . Hence to have a store of definitions and patterns , no matter ... criticism of what have been accepted later as the most significant creative schools of art and the most important ...
... critics , until they have found just this uniqueness . Hence to have a store of definitions and patterns , no matter ... criticism of what have been accepted later as the most significant creative schools of art and the most important ...
Pagina 202
... critic will have a whole set of such criteria at his disposal to apply . It is equally plain that the standards cited in the history of criticism , when they are not formal structural characteristics but distinguishable qualitative ...
... critic will have a whole set of such criteria at his disposal to apply . It is equally plain that the standards cited in the history of criticism , when they are not formal structural characteristics but distinguishable qualitative ...
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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