AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 45
Pagina 41
... sort of coherence . And structures are grasped as such only when we are already familiar with them as wholes or types , or with their kinds of elements and the kinds of relations native or possible to these elements in complexes . For ...
... sort of coherence . And structures are grasped as such only when we are already familiar with them as wholes or types , or with their kinds of elements and the kinds of relations native or possible to these elements in complexes . For ...
Pagina 57
... sort of knowledge that we seek by indicat- ing relevant distinctions for æsthetics . No concrete experience is totally æsthetic . No asthetic experience is totally of color or sound or space or time . No color is totally hue ; no sound ...
... sort of knowledge that we seek by indicat- ing relevant distinctions for æsthetics . No concrete experience is totally æsthetic . No asthetic experience is totally of color or sound or space or time . No color is totally hue ; no sound ...
Pagina 94
... sort of pattern that we have not yet even so much as explicitly illustrated is the sort that is constituted abstractly out of the time - order , an order clearly distinguish- able from what we have called qualitative orders , as in ...
... sort of pattern that we have not yet even so much as explicitly illustrated is the sort that is constituted abstractly out of the time - order , an order clearly distinguish- able from what we have called qualitative orders , as in ...
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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