AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 46
Pagina 86
... familiar . Without apprehensible form no composition coheres sufficiently to be one presented ob- jective for attention ; on the other hand the most familiar of the geometrical figures by themselves have little ex- pressive vitality ...
... familiar . Without apprehensible form no composition coheres sufficiently to be one presented ob- jective for attention ; on the other hand the most familiar of the geometrical figures by themselves have little ex- pressive vitality ...
Pagina 157
... familiar shape of the human body . The content , then , when we are presented with such shapes , natural or useful , is directly seen and felt as these familiar things , or at least as the shapes and appearances of these familiar things ...
... familiar shape of the human body . The content , then , when we are presented with such shapes , natural or useful , is directly seen and felt as these familiar things , or at least as the shapes and appearances of these familiar things ...
Pagina 181
... familiar- ity is perhaps more instructive than these others . For what we demand is not merely a pattern or form — in the strict sense nothing perceived would lack some form or other --but pattern or form that is familiar enough to be ...
... familiar- ity is perhaps more instructive than these others . For what we demand is not merely a pattern or form — in the strict sense nothing perceived would lack some form or other --but pattern or form that is familiar enough to be ...
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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