AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 34
Pagina 48
David Wight Prall. perception . As our systematic knowledge of smells and tastes
grows , we can discern order in them , and even without this they themselves
furnish ęsthetic content as elements more or less alike , more or less contrasting
.
David Wight Prall. perception . As our systematic knowledge of smells and tastes
grows , we can discern order in them , and even without this they themselves
furnish ęsthetic content as elements more or less alike , more or less contrasting
.
Pagina 143
The world in all its actually presented concrete character , on the other hand , is
more or less interesting to us , hence more or less objectionable or acceptable ,
liked or disliked . That is to say , the response to it is to some degree emotional .
The world in all its actually presented concrete character , on the other hand , is
more or less interesting to us , hence more or less objectionable or acceptable ,
liked or disliked . That is to say , the response to it is to some degree emotional .
Pagina 189
se put their attention not on apprehending what is before them in works of art , but
on expressing their more or less irrelevant feelings in the presence of these
works , and then pass on , on the strength of this , to judgments of their relative
value ...
se put their attention not on apprehending what is before them in works of art , but
on expressing their more or less irrelevant feelings in the presence of these
works , and then pass on , on the strength of this , to judgments of their relative
value ...
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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