Æsthetic AnalysisCrowell, 1967 - 211 pagine |
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Pagina 118
... English poetry . Our own present attempt will be limited to discriminat- ing the temporal pattern in two familiar verse forms , iambic pentameter and ballad metre . But we have a difficulty to overcome at the very beginning which is ...
... English poetry . Our own present attempt will be limited to discriminat- ing the temporal pattern in two familiar verse forms , iambic pentameter and ballad metre . But we have a difficulty to overcome at the very beginning which is ...
Pagina 123
... English poetry . ) 6 I 2 3 4.5 6 1 2 3 4 5 6 12345 that's So eat your cake and have it too say I 123 45 6 I 2 3 456 I 2 3 - - really beating fate and living | high S and the couplet does not differ in temporal measure and number from ...
... English poetry . ) 6 I 2 3 4.5 6 1 2 3 4 5 6 12345 that's So eat your cake and have it too say I 123 45 6 I 2 3 456 I 2 3 - - really beating fate and living | high S and the couplet does not differ in temporal measure and number from ...
Pagina 130
... English , would be to cite most of English poetry . But perhaps the conven- tional description of ballad metre as contrasted with its actual temporal pattern is striking enough to be worth citing before we leave the subject . Bid me to ...
... English , would be to cite most of English poetry . But perhaps the conven- tional description of ballad metre as contrasted with its actual temporal pattern is striking enough to be worth citing before we leave the subject . Bid me to ...
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Parole e frasi comuni
absolute pitch abstract accent acquaintance actual adequate æsthetic analysis æsthetic content æsthetic objects æsthetic surface æsthetic theory apply apprehended artists asthetic attention basic blank verse called character characteristic clear clearly color variations complex concrete conscious constitute crete criticism defined definitely degree determinate dimension direct directly discerned discriminating distinct distinguished Dominant duration elements English poetry exhibited experience expression fact familiar feeling felt formal function fundamental give given grasp hence human iambs indicated intelligible intrinsic knowledge Leverett House means Mediant merely musical scale nature notes obvious octave particular Pathétique Sonata perception physical pitch intervals pitch pattern pitch relations Polyclitus Prall present processes qualitative orders relevant rhythm rhythmical scale scheme sense sensory sensuous serial orders simply sonata form sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees vibration rate whole words