AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 35
... object of our attention ; these are abstracted from the rest of it . Moreover , there are dis- tinguishable aspects of objects which cannot be concretely presented alone . What we call concrete objects are after all themselves of this ...
... object of our attention ; these are abstracted from the rest of it . Moreover , there are dis- tinguishable aspects of objects which cannot be concretely presented alone . What we call concrete objects are after all themselves of this ...
Pagina 151
... object felt , so there is no clearly defined single feeling ex- perienced , but a welter of successive transitory feelings only very slightly defined separately and not integrated into any one defined object of attention . We get relief ...
... object felt , so there is no clearly defined single feeling ex- perienced , but a welter of successive transitory feelings only very slightly defined separately and not integrated into any one defined object of attention . We get relief ...
Pagina 154
... objects , towards objects , of ob- jects . While all that is needed to constitute an æsthetic object is qualitative presence , no æsthetic object of any ab- sorbing interest can be less than complex , while it must also be sufficiently ...
... objects , towards objects , of ob- jects . While all that is needed to constitute an æsthetic object is qualitative presence , no æsthetic object of any ab- sorbing interest can be less than complex , while it must also be sufficiently ...
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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