Aesthetic Analysis [Apollo ed.]

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AESTHETIC ANALYSIS ye

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PRA uerany POLYTECHNIC

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49766 26 MAR 2000

I.M. MARSH

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INDEX Abstraction, 22, 32; and the intelligible, 42, 76; of time, 110; no work of art mere, 139, Accent in verse, 105, [11 Esthetic content, is not process, 11, 165. See tive nadie experience, 8, 57, 147, 163; confused 9

55; of pitch, 146 also Qualita-

with theory,

/Esthetic response, 20, 147 Esthetic surface, 6, 9 ZEsthetics, its subject matter, 2, 9, 26, 172, Ch. I; its function, 169; distinguished from the beautiful, 3, 10, 43, from the fine arts, 4, 26, from language, 92, 144, 148,

162, from the practical, 6, 142, from physics and psychology, 10, from the sciences generally, 173, 196; relation to knowledge and science, 11, 20, 25, 30, 39, 111; the science of the immediate, 12; the mathematics of quality, 173; based on the apprehension of structures and orders, 13, 41, 83, 88, 155, 179; task of an adequate, 83; relation to value theory, 178, 187; relation to criticism, 170, Ch. VI; extent of agreement in, 178

Appearance and reality, 194 Apprehension, 13, 41, 83, 88, 155, 179, 188. See also Intelligible

Art, conditions of acquaintance with, 15, 26, 159, 166; the |

good and bad in, 202; as presenting meanings, 164; a common world the object of both art and science, 196; works of, distinguished by the artist’s intention, 141, coherence

their man Artist, 168,

in, 179, individuality of, 187, vagueness

of

expression a mistaken notion, 150; conflict of hunotions about, 175 The, his intention, 141, 160; his nature, 28, 161, 184

Balance, misuse of the term, 87 Ballad metre, 150 207

208

INDEX

Barnes, A. C., 197 Beautiful, The, 3, its place in experience, 10

Birkhoff, G. D., on polygons, 87, 93; his ‘esthetic measure, 88, 93 Campion, Thomas, 128 Canons. See Norms and Standards Coherence in works of art, 179 Color, 15, 52, 80, 156 Communication, 144, 176; precise only in the arts, 150, 162 Contemplation, 19 Content, 165. See Qualitative Creative artists, 28, 31

Critical vocabulary, 88, 198 Criticism, the practice Standards

of, 170,

183,

185,

198. See also

‘Depth of Interest,’ 6 Descartes, 144 Dewey, John, on esthetic experience, 8, 57, 163

Discrimination, perceptual, 14, 21. See also Apprehension Durations, 99. See also Time and Metre

Eastman, Max, 148 Economic theory, 22 Education, in esthetic matters, 28, 159, 166, 204; paucity of, 196 Emotion, 9, 19, 147, 159 Emotional perception, 9, 19, 159 Experience, in general, 7, 11, 57, 147 Expression, Ch. V, 141, 150, 165 Expressiveness, 85, 90; verse form as expressive, 117

Familiar, The, as formal principle, 88, 156, 181

Feeling, 9, 147, 159; as actively 142 ; specification of, 150, 153, sion Fine arts, The, 4, 25. See also Porm and content, 165. See also

present, 19; as objective, 160, 166. See also Expres-

Art Structures

‘Formalist,’ Reply to the charge of, 19 Geometrical patterns, 78, 85 Greek sculpture, 85, 89, 192

INDEX

209

Hobbes, on the passions, 28 Housman, A. E., 124

Human body, The, as an esthetic pattern, 89, 190 Human conflict on esthetic matters, 175, 178 lambic pentameter, 122 Individuality, 187 Intelligible, The, Ch. V, 41, 78, 85; the familiar as, 88, 156, 181 Interest, 6, 182

Knowledge, 11, 23, 30, 39, 62, 111, 173, 196 Language, 92, 144, 148; beyond the limits of, 162 Learning, verbal and non-verbal, 195

Learning to apprehend works of art, 159, 166 Locke’s ‘habitual knowledge,’ 62 Logic, 95, 152; analysis, 95

and

the qualitative,

173;

and

modern

Logical studies, The object of, 14 Masterpieces of art, The study of, 26, 29

Matter and Spirit, 145, 149 Meaning, 164 et passim Melody, 17, 48 Metre, Ch. IV, 122, 130 Metrical ‘Measure’ and ‘Number,’ 98; and accent, Musical intervals and the scale, 65

105

Nature, 4, 63 Nominalism, 152, 186

Norms,

Ch. VI; in sculpture, 89; indispensable to de-

terminateness, 90. See also Standards ‘Number,’ metrical, 100

Objectivity, 142 Omniscience, 24 Orders, Qualitative, 55; why emphasis on, 83, Ch. IT; controlled composition possible only by means of, 136. See also Structures Orders, Serial, 17, 44, 49, 53

210

INDEX

Painting, 156. See also Color

Patmore, Coventry, 124 Patterns, geometrical, 78, 85, spatial, 85, 137, temporal, 84, 96, 118, 125, Ch. IV; as entering into coherent form, 180; no mere abstract, 139; what in nature gives us metrical, 106, musical, 64. See also Structures

Perception. See Apprehension, Intelligible, Qualitative Perceptual discrimination, 194 Physics and Psychology, distinguished from esthetics, 10 Pitch, Musical, 17, 46, 48; in verse, 111 Plato’s communication of the categories, in modern terms,

53 Practical, The, 6, 88, 156 Process, 11

Prosody, classical, misapplication of, 116, 130 Qualitative, The, sciences, 173

5, 8, 55,

138,

148;

as

basis

of the

Qualitative structures, as discriminated are the basis of the arts, 14; esthetic significance of, 44, Chs. II, III, VI; as present in color and sound, 18; as absent from tastes and smells, 18, 47 Qualitative terms, loose use of, 198 Reality and appearance, 194 Relations, 13, 44, 137. See also Structures

Relativity of taste, 175, 182 Representation, 159 Reproduction distinct from art, 140, 193 Rhythm, 103, 112, Ch. IV Scale, The musical, 63 Scansion, 117, Ch. IV Science, 13, 60; and esthetic data, 173

Scientific method, 12 Sculpture, 89, 19] Sensuous, The, see Qualitative Shakespeare’s sonnets, 129 Social sciences, The, 23 Sound, 46; dimensions other than pitch, 48 Space, 53, 56

INDEX

211

Spatial patterns, 85, 137 Spatio-temporal, distinct from qualitative orders, 138 Spinoza, 63; on man’s nature, 176 Spirit and Matter, 145, 149 Standards, Critical, their legitimate use, 89, 185, 190; il-

legitimate use, 188, Ch. VI; forcing of accepted,

170;

esoteric, 26 Structure, Systematic, the essence of science, 13 Structures, Aesthetic, 12, 87, 137, 165, 184, Chs. III, IV, VI; xsthetic objects as, 22, 41, 188; the useful as defining, 89; natural basis of, 13, 41, 64, 83, 88, 155, 179; and critical standards, 185; of color, 15, 52, 80; of melody, 17, 48; of rhythm, 103; of verse, 96, 110; spatiotemporal distinct from qualitative, 138 Summary sketch of earlier chapters, 135-139 Symmetry, mis-use of the term, 87

Taste, relativity of, 175, 182 Tastes and smells, 18, 47 Technique, 160, 184, 197, 204 Temporal elements, 84, 96, 118, 125; in English verse, 122 Time, 52, 99, 109; as an order, 53 Tovey, D. F., 197

Unity and Variety, 180 Universals, 152, 186 Useful in art, significance of the, 88

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Advance acclaim for D. W. Prall’s books:

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“| learn with real joy of the publication of David Prall’s two key books. They were my bible at college, and | find, years later, that their lustre, insight, and sense of beauty have in no way diminished. -—Leonard Bernstein

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BEANS. ANALYSIS

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With an Tntr eed by ARTHUR BERGER, composer, critic, and Walter W.. ae Proie of Music,

Brandeis University

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No concrete experience, saysD. Ww.Prall,,istotally aesthetic. No aesthetic experience istotally of ¢ color or sound or space or time. No color is totally hue; no sound, totally pitch. It is only by absttracting from the infinite, unintelligible, impi ging world of nature what our attention can have distinct experience atall. _ This data into rests

celeptniceh study analyzes aesthetics iin terms of the of sense perception. It then systematizes these data elementary patterns’ of order and relation on which the historical Raigprn ngptthearts.

Also available in Apolio Editions ..

AESTHETIC JUDGMENT by D. W. Prall

(A-149)

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With an Introduction by Professor Ralph Ross, Scripps College my

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