AEsthetic Analysis |
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Pagina 39
And the most obvious fact about knowing works of art is that direct apprehension
is the final adequate knowledge that we want So in æsthetics itself . Its final aim is
the body of knowledge that conditions direct and adequate apprehension ...
And the most obvious fact about knowing works of art is that direct apprehension
is the final adequate knowledge that we want So in æsthetics itself . Its final aim is
the body of knowledge that conditions direct and adequate apprehension ...
Pagina 99
familiar data of simple direct experience that we are talking about . Experiment is
demanded , though only of that easy sort that we can readily carry out in
imagination . To mark the two ends of an interval of duration , it is necessary to
give two ...
familiar data of simple direct experience that we are talking about . Experiment is
demanded , though only of that easy sort that we can readily carry out in
imagination . To mark the two ends of an interval of duration , it is necessary to
give two ...
Pagina 100
But for direct apprehension neither season after season , nor day after day , nor
death after life , is a literally felt recurrence of temporal interval , not a direct
æsthetic datum . Such so - called rhythms may be represented æsthetically or ...
But for direct apprehension neither season after season , nor day after day , nor
death after life , is a literally felt recurrence of temporal interval , not a direct
æsthetic datum . Such so - called rhythms may be represented æsthetically or ...
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Parole e frasi comuni
abstract accent actual adequate æsthetic analysis appears apply apprehended artists aspects attention basic become body called character characteristic clear clearly color complex concrete conscious constitute counts course criticism defined definitely determinate direct directly discriminating distinct distinguished division Dominant duration effect elements example exhibited experience expressive fact familiar feeling felt field follow formal fully function fundamental give given grasp grouping hence human indicated individual intelligible intensity interest intervals intrinsic involved knowledge least length less limited mark matter means measure merely nature notes object obvious octave once organism particular physical pitch possible present processes qualitative range relations relevant response rhythm scale scheme selected sense sensuous simply single sort sound spatial specific structure suggested surface syllables systematic taken temporal pattern things tion Tonic variations various verse vibration whole