AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 73
Pagina xiv
... experiences stand apart from the flux of experience by virtue of being their own fulfillment . The distinction between experience in flux and what Dewey calls “ an experience " is that in the one case there is " distrac- tion and ...
... experiences stand apart from the flux of experience by virtue of being their own fulfillment . The distinction between experience in flux and what Dewey calls “ an experience " is that in the one case there is " distrac- tion and ...
Pagina xix
... experience , of distinguishing between the direct and immediate apprehension of qualitative rela- tions and our other preoccupations . Thus , " as no experience can be totally anæsthetic , so also no experience is totally æsthetic ...
... experience , of distinguishing between the direct and immediate apprehension of qualitative rela- tions and our other preoccupations . Thus , " as no experience can be totally anæsthetic , so also no experience is totally æsthetic ...
Pagina 57
... experience at all , what Mr. Dewey calls experiences as distinguished from mere vague awareness or bare experience as continuous . And here he agrees with one of the great modern mathe- maticians who has said that the fundamental ...
... experience at all , what Mr. Dewey calls experiences as distinguished from mere vague awareness or bare experience as continuous . And here he agrees with one of the great modern mathe- maticians who has said that the fundamental ...
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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