AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Risultati 1-3 di 53
Pagina 53
... concrete content are themselves structural . Like pitch , time , whatever else it may be , is an order . That space is an order we all realize from an elementary acquaintance with geometry . Two lines on a surface can not remain merely ...
... concrete content are themselves structural . Like pitch , time , whatever else it may be , is an order . That space is an order we all realize from an elementary acquaintance with geometry . Two lines on a surface can not remain merely ...
Pagina 82
... concrete presentation , and qualitative orders themselves , whether scales or not , require spatial or temporal orders for concrete exhibition . The relative degree to which one kind of order rather than another constitutes the concrete ...
... concrete presentation , and qualitative orders themselves , whether scales or not , require spatial or temporal orders for concrete exhibition . The relative degree to which one kind of order rather than another constitutes the concrete ...
Pagina 147
... concrete feeling and aesthetic objects are concrete wholes . An experience is æsthetic just so far as it is the full felt response to what is directly given ( though given only on condition that there is the specific response as one of ...
... concrete feeling and aesthetic objects are concrete wholes . An experience is æsthetic just so far as it is the full felt response to what is directly given ( though given only on condition that there is the specific response as one of ...
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abstract accent acquaintance actual adequate aesthetic æsthetic content æsthetic experience æsthetic objects æsthetic surface æsthetic theory appre apprehended artists attention basic body called carbonated water character characteristic clear clearly color variations complex concrete conscious constitute crete criticism defined definitely degree determinate direct directly discerned discriminating distinct distinguished Dominant duration El Greco elements emotional exhibited expressive fact familiar felt formal function fundamental give given grasp human iambs indicate individual intelligible intrinsic knowledge Leverett House means measure Mediant merely musical scale notes obvious octave particular Pathétique Sonata perceptual physical pitch intervals pitch relation Polyclitus Prall processes qualitative orders relevant rhythmical scale scheme sculpture sense sensuous serial orders simply sonata form sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern theory of forms timbre tion Tonic trochees University of Michigan-Flint vague vibration rate whole words