Æsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 18
Pagina 23
... limited by the very abstractions that constitute their foundations . We cannot know everything at once from every conceivable point of view . Quite ob- viously ; for we always have , or are at , some one point of view , physically ...
... limited by the very abstractions that constitute their foundations . We cannot know everything at once from every conceivable point of view . Quite ob- viously ; for we always have , or are at , some one point of view , physically ...
Pagina 32
... limited to its own particular results , as if somehow it ought not to be so limited . The objection arises largely from not realizing either just what analysis is or what it can do , what its limits are and what its aims . In the first ...
... limited to its own particular results , as if somehow it ought not to be so limited . The objection arises largely from not realizing either just what analysis is or what it can do , what its limits are and what its aims . In the first ...
Pagina 59
... limited number of determinate modes or funda- mental patterns on the basis of which works of art have been constructed . Moreover , artists have had to consider many non - æsthetic aspects of the physical media that are the bearers of ...
... limited number of determinate modes or funda- mental patterns on the basis of which works of art have been constructed . Moreover , artists have had to consider many non - æsthetic aspects of the physical media that are the bearers of ...
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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