AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 27
Pagina 6
Ęsthetic surface is concretely had , directly and fully experienced . It is not merely
distinguished by one of the senses , but felt emotionally in its full present
character . But so far as it is ęsthetic content , it is not more than thus directly felt .
Ęsthetic surface is concretely had , directly and fully experienced . It is not merely
distinguished by one of the senses , but felt emotionally in its full present
character . But so far as it is ęsthetic content , it is not more than thus directly felt .
Pagina 20
But most response fails as ęsthetic not so much because it goes beyond into
other interests . Rather it goes beyond because it is not competent to apprehend
the presented surface fully and determinately , and hence richly and excitingly .
But most response fails as ęsthetic not so much because it goes beyond into
other interests . Rather it goes beyond because it is not competent to apprehend
the presented surface fully and determinately , and hence richly and excitingly .
Pagina 86
... what is before us , so far we lose the ästhetic character of that which , before it
became so familiar , took our attention in a response the object of which was
clearly realized and emotionally felt ęsthetic surface , a fully present
consummation .
... what is before us , so far we lose the ästhetic character of that which , before it
became so familiar , took our attention in a response the object of which was
clearly realized and emotionally felt ęsthetic surface , a fully present
consummation .
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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