AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 12
Pagina 170
Not that criticism is as such useless , but that value judgments , if they are to be
made at all , are not ęsthetic ... And the fact in question , if it is relevant , is the
critic ' s adequate grasp of the artist ' s own means within his own medium carried
...
Not that criticism is as such useless , but that value judgments , if they are to be
made at all , are not ęsthetic ... And the fact in question , if it is relevant , is the
critic ' s adequate grasp of the artist ' s own means within his own medium carried
...
Pagina 185
It is clear that without such standards neither critics nor any one else could
apprehend such works in their presented ... to condemn the so - called play as
either not a play or not a good play , is irrelevant pedantry , not authentic criticism
.
It is clear that without such standards neither critics nor any one else could
apprehend such works in their presented ... to condemn the so - called play as
either not a play or not a good play , is irrelevant pedantry , not authentic criticism
.
Pagina 201
Obviously , none of this has definitely applicable meaning unless we have ,
marked for us somewhere , the indifference point of the critic ' s own scale .
Critical vocabulary is so extremely inadequate in indicating degrees , in fact , that
a ...
Obviously , none of this has definitely applicable meaning unless we have ,
marked for us somewhere , the indifference point of the critic ' s own scale .
Critical vocabulary is so extremely inadequate in indicating degrees , in fact , that
a ...
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abstract accent actual adequate ęsthetic analysis appears apply apprehended artists aspect attention basic basis become body called character characteristic clear clearly color complex concrete constitute course criticism defined definitely determinate direct directly discriminating distinct distinguished Dominant duration effect elements example exhibited experience expression fact familiar feeling felt field follow formal fully function fundamental give given grasp grouping hear hence human indicated individual intelligible intensity interest intervals intrinsic knowledge language 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 significant simply single sort sound spatial specific structure suggested surface systematic taken temporal pattern theory things tion Tonic variations verse vibration whole