Science and the Arts: A Study in Relationships from 1600-1900Fairleigh Dickinson Univ Press, 1973 - 226 pages Deals with the philosophical implications of natural science in the various humanistic disciplines during the 17th, 18th, and 19th centuries. Remarkable in combining and relating numerous disparate disciplines in the arts and sciences. |
Table des matières
| 33 | |
| 44 | |
The Implications of EighteenthCentury Cosmology in the Humanities | 56 |
The Place of Baroque Music in the Age of Reason | 71 |
Musical Classicism Reflected in Enlightenment Mentality | 88 |
The Primacy of the Life Sciences in the Nineteenth Century | 126 |
The Humanities in the Light of Romantic Biocentrism | 146 |
The Biological Metaphor in NineteenthCentury Musical Structure | 180 |
Bibliography | 205 |
| 219 | |
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Expressions et termes fréquents
A. N. Whitehead abstract aesthetic Allegro analysis animate architecture assertion baroque music basic Basil Willey Beethoven biocentrically biological sciences Brahms Cartesian Cassirer chapter classical music conception constitutes contrast cosmology culture cyclical form Darwin Descartes edited eighteenth century empirical Enlightenment epistemology evolution evolutionary ideas example extracts F. S. C. Northrop fact Florida State University fugue further Galileo Goethe harmony Haydn Hence History of Science human Josef Rufer Keller laws Liszt literal principle logical complementarity logocentric M. H. Abrams mathematical mechanical mechanistic ment Mentor Books metamorphosis method Modern motif movement Mozart musicology Newton Newtonian nineteenth century noted notion organic phenomena philosophy physical poetry Princeton progress Quoted Rameau rational regarded reprinted respect Reti Reti's Romantic Rudolph Reti scientific sense seventeenth Sonata species static structure Symphony thematic theme theory of nature thought tion tonal transformation unity University Press W. W. Norton whole Wordsworth world view writes York
Fréquemment cités
Page 16 - It is written in the language of mathematics, and its characters are triangles, circles, and other geometrical figures, without which it is humanly impossible to understand a single word of it; without these, one is wandering about in a dark labyrinth.
Page 21 - I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the sea -shore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me.
Page 36 - Resolution, to reject all the amplifications, digressions, and swellings of style: to return back to the primitive purity, and shortness, when men deliver'd so many things, almost in an equal number of words. They have exacted from all their members, a close, naked, natural way of speaking; positive expressions; clear senses; a native easiness: bringing all things as near the Mathematical plainness, as they can...
Page 17 - Thus nature gets credit which should in truth be reserved for ourselves: the rose for its scent: the nightingale for his song: and the sun for its radiance.
Page 26 - For what is the heart, but a spring; and the nerves, but so many strings ; and the joints, but so many wheels, giving motion to the whole body, such as was intended by the artificer ? Art goes yet further, imitating that rational and most excellent work of nature, man.