AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 18
Pagina 6
... interest is no longer in realizing this shape fully but in using it to stop a hole or split a log , our attention being on a situation not here and now given through sense , but called up in relation to something that we want to do or ...
... interest is no longer in realizing this shape fully but in using it to stop a hole or split a log , our attention being on a situation not here and now given through sense , but called up in relation to something that we want to do or ...
Pagina 38
... interests us most in the end , just as our interest in the money in the top bureau drawer may be all that instigates a search of the house . But a good light on the subject may be better than much fumbling in the dark , especially if in ...
... interests us most in the end , just as our interest in the money in the top bureau drawer may be all that instigates a search of the house . But a good light on the subject may be better than much fumbling in the dark , especially if in ...
Pagina 142
... interest of his or of our own . We wish to give directions , or to record an experience as bearing upon a matter of common concern , to communicate this piece of information to guide plans of action or to explain some particular feature ...
... interest of his or of our own . We wish to give directions , or to record an experience as bearing upon a matter of common concern , to communicate this piece of information to guide plans of action or to explain some particular feature ...
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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