AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 39
Pagina 24
... things . It is a fact , for example , that men feel differently about things . Omnis- cience would have to grasp all these different feelings , and all at once , so as to see exactly how one differed from every other ; it would have to ...
... things . It is a fact , for example , that men feel differently about things . Omnis- cience would have to grasp all these different feelings , and all at once , so as to see exactly how one differed from every other ; it would have to ...
Pagina 33
... things at a time , and so to drop other aspects out of attention . But this involves neither destruction nor falsifica- tion . It does not involve destruction , because it is logical process in us , not physical operation on things . It ...
... things at a time , and so to drop other aspects out of attention . But this involves neither destruction nor falsifica- tion . It does not involve destruction , because it is logical process in us , not physical operation on things . It ...
Pagina 110
... things than pitch is independent of sounds ; and obviously it is no less independent . That is , the temporal pattern of changing things can be clearly abstracted and thought of without thinking of all the other aspects of things , ex ...
... things than pitch is independent of sounds ; and obviously it is no less independent . That is , the temporal pattern of changing things can be clearly abstracted and thought of without thinking of all the other aspects of things , ex ...
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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