AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 32
Pagina 19
And as every one knows , the formal abstractness of the elements and relations
taken as fundamental is fatal to any grasp of the subject matter of ęsthetics , if
this is to include either sensuous content or emotional depth or human
significance .
And as every one knows , the formal abstractness of the elements and relations
taken as fundamental is fatal to any grasp of the subject matter of ęsthetics , if
this is to include either sensuous content or emotional depth or human
significance .
Pagina 42
... the elements that we are to take as basic should be sensuous elements , and
the relations , since they must connect such elements , will be the only sort of
relations capable of connecting sensuous elements , namely sensuous relations
...
... the elements that we are to take as basic should be sensuous elements , and
the relations , since they must connect such elements , will be the only sort of
relations capable of connecting sensuous elements , namely sensuous relations
...
Pagina 146
And no one has more vehemently insisted on the low estate of the merely
sensuous than have artists and critics in their efforts to uphold the cause of the
arts on the ground of their essential spirituality . One might gather from what they
say that ...
And no one has more vehemently insisted on the low estate of the merely
sensuous than have artists and critics in their efforts to uphold the cause of the
arts on the ground of their essential spirituality . One might gather from what they
say that ...
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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