Esthetic AnalysisT.Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 46
Pagina 61
... familiar intimacy with our world ; and since we are human beings , it is humanly apprehensible perspectives that we demand in any case that is to be called knowledge . It is all one whether these perspectives are brought to a focus by ...
... familiar intimacy with our world ; and since we are human beings , it is humanly apprehensible perspectives that we demand in any case that is to be called knowledge . It is all one whether these perspectives are brought to a focus by ...
Pagina 86
... familiar . Without apprehensible form no composition coheres sufficiently to be one presented ob- jective for attention ; on the other hand the most familiar of the geometrical figures by themselves have little ex- pressive vitality ...
... familiar . Without apprehensible form no composition coheres sufficiently to be one presented ob- jective for attention ; on the other hand the most familiar of the geometrical figures by themselves have little ex- pressive vitality ...
Pagina 157
... familiar shape of the human body . The content , then , when we are presented with such shapes , natural or useful , is directly seen and felt as these familiar things , or at least as the shapes and appearances of these familiar things ...
... familiar shape of the human body . The content , then , when we are presented with such shapes , natural or useful , is directly seen and felt as these familiar things , or at least as the shapes and appearances of these familiar things ...
Parole e frasi comuni
absolute pitch abstract accent acquaintance actual adequate ęsthetic analysis ęsthetic content ęsthetic objects ęsthetic surface ęsthetic theory apply apprehended artists asthetic attention basic blank verse 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 El Greco elements emotional exhibited experience expressive fact familiar feeling felt formal function fundamental give grasp hence human human voice iambic pentameter iambs indicated intelligible intrinsic knowledge length loudness means Mediant merely musical scale nature notes obvious octave one-two particular perception phatically 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 strictly string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees vibration rate whole words