A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 65
Pagina 247
... sound ( and we distinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies ... sound can be removed from this given pitch order . Nor can anything enter this order except sounds . By virtue of ...
... sound ( and we distinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies ... sound can be removed from this given pitch order . Nor can anything enter this order except sounds . By virtue of ...
Pagina 249
... sounds and noises , found , that is , in nothing else and always present when sound or noise is present . It is the fact that noises , even with no distinguishable pitch , have their fixed places in this dimension of loudness - softness ...
... sounds and noises , found , that is , in nothing else and always present when sound or noise is present . It is the fact that noises , even with no distinguishable pitch , have their fixed places in this dimension of loudness - softness ...
Pagina 256
... sound from extensional aspects whether spatial or temporal . Why , then , are the qualitative orders any more intrinsic to sound and color than spatial or temporal order ? And why , if we are to be rigorous , are temporal and spatial ...
... sound from extensional aspects whether spatial or temporal . Why , then , are the qualitative orders any more intrinsic to sound and color than spatial or temporal order ? And why , if we are to be rigorous , are temporal and spatial ...
Sommario
Having an Experience From Art as | 62 |
Intuition | 89 |
Desire and the Unconscious | 127 |
Copyright | |
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abstract activity ANDREW CECIL BRADLEY appears appreciation artist aspect attitude beauty become BENEDETTO CROCE called character CHRISTOPHER CAUDWELL CLIVE BELL color concrete consciousness contemplation contextualist criticism daydreams Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience existence expression external reality fact feeling Freud genotype give Gurney Hanslick HERBERT READ human I. A. RICHARDS ideas images imagination imitation impulse individual instinctive interest intrinsic intuition isolated JOHN HOSPERS judgments kind language latent content live manifest content material means Melvin Rader ment merely mind moral nature object objectified organization ourselves painter painting perception phantasies philosophy physical picture pitch play pleasure poem poet poetic poetry practical present principle produce psychological pure relation rhythm rience scientific sensation sense sensuous social soul sound spatial super-ego theory things tion truth type patterns unity variation Vernon Lee whole WILHELM WORRINGER words