Swinging Syllables, Aesthetics of Kathak DanceSangeet Natak Akademi, 1991 - 195 strani |
Iz vsebine knjige
Zadetki 1–3 od 77
Stran 39
... aesthetic attitude and the aesthetic viewpoint . Such a concern is , in any case , integral to the aesthetics of an art . a . The Aesthetic Attitude It is by virtue of his aesthetic attitude that the rasika is able to see and relish the ...
... aesthetic attitude and the aesthetic viewpoint . Such a concern is , in any case , integral to the aesthetics of an art . a . The Aesthetic Attitude It is by virtue of his aesthetic attitude that the rasika is able to see and relish the ...
Stran 42
... aesthetic . For the emphasis of attention here is on clarity of footwork and steadfast , winsome ang in spite of a quickened pace ; and both footwork and bodily bearing are integral to the art - work . In other cases , however , it may ...
... aesthetic . For the emphasis of attention here is on clarity of footwork and steadfast , winsome ang in spite of a quickened pace ; and both footwork and bodily bearing are integral to the art - work . In other cases , however , it may ...
Stran 62
... Aesthetic Attitude ' ( Philosophy East and West , No. 1. , Jan. 1978 ) , ' Reply to My Critics ' ( PEW , No. 2. , April 1979 ) , and ' The Aesthetic Attitude : Reply to Some New Criticisms ' ( PEW , April 1980 ) . 68. John Hospers ...
... Aesthetic Attitude ' ( Philosophy East and West , No. 1. , Jan. 1978 ) , ' Reply to My Critics ' ( PEW , No. 2. , April 1979 ) , and ' The Aesthetic Attitude : Reply to Some New Criticisms ' ( PEW , April 1980 ) . 68. John Hospers ...
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Abhinavagupta abhinaya accompanist aesthetic experience aestheticians amad appear art-work artist attention attunement bandish basic beats beauty Bharatanatyam bhāva Birju Maharaj bodily bols character charm chukkurdār classical dance clear contemplation course creative dance form dancer danseuse demands dhruvapada distinct distinguished drummer elements emotion emphasis essay essential everyday expression expressional fact feeling flow footfalls footwork freely gently gestures hand Ibid imagination individual inner intra-form Jāti Kathak dance Kathak Kendra Kathak recital kind Krishna lahra Langer läsya laya look mark mātrās means merely movement mudrā mukhvilās nritta object Odissi overall pace Pakhawaj paran paṛhant pattern Phenomenology posture present projection question rāga rasa rasika relation relish representation respect rhythm rhythmic sangeet seems seen self-complete sense speak śringāra sthāyibhāva suggest syllables Tablā taken tāla tatkār thața thumri tiyā torhā Tritāla vandanā variform vibhāva vilambit vocal whole winsome word थेई धधिगिन है