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 PHILOSOPHICAL PERIODICALS. 429 only secondarily for the objective reality of each of tho two t. THIS E. van Rocy ' I., Kantismc et la Theologie Protestante ') in .in adi.-le that is too brief to be an adequate treatment of its subject, maintains ';int lias formulated in their extrenir <-enc( -s the principles 'mtestimtism. /KITSCHIMKT I'-i'li I'sYiH, >!,(", IK t NP> I'HYSIOUHilK l>K!i SlXNKSOH(i.NK. !'.<!. ii.. Heft I'.. M. Ettlinger. /ur Gnmdlegnng einer jEsthctiK iles Khythmus.' [We may approach the study of rhythm formally. asking how rhythmical art-forms are constituted; or we may approach H psychologically. The latter is the correct way. Kor then- are no pure rhythmical art-forms; rhythms have to i" 'given 1 by x,,mc one, .uid there is no instrument for their measurement ; and the reduc- tion of rhythm to time and intensity is unsatisfactory. (1) Subjective rhythmisation. The series of sounds is not an objective unity : sensa- tion alternates with 'empty' times. Critique of Wundt's theory of tense and relaxed expectation. What we actually have is a continuous, pleasant feeling of activity or tension, varying only in concentration. It is an objectified feeling, i.e., a feeling of (esthetic sympathy. The peculiarity of the rhythmical structure is the recurrence of " groups within a whole not the repetition of simple impressions. As the strokes < onie. we have two rival tendencies the one holding us back, the other pointing us forwards. The rhythmically minded hearer escapes the dilemma by putting life and effort into the series; there is a movement .inward, not a mere temporal sum of separates. 'Inner accentuation' shows the action of the secondary, inhibitive tendency ; the unaccented terms show the primary movement. The latter is what carries the feeling. (":/'., Lipps' theory of the geometrical optical illusions. (2) The objective causes of rhythm. These are intensive relations ; the duration of the sensations; the mode of their succession. A fourth factor, qualitative difference of sensations, is of great importance only in music. The various causes may function vicariously, though they have not the same value for rhythmisation. 3' Analysis of the rhythmical art-forms and explanation of their pleasingness. The equipollence of rhythmical groups lies in the fact that in all alike there is ac- complished a complementary suppression and restoration, no matter what the number of terms, time, intensity differences, etc., may l>e.| Hesprechungen. Kiesow on Rollett's 'Beitrage '/.nr Physiologi- Geruchs, des Geschmacks, der Hantsinne und der Sinne ini AJlgeuieinen ' ; Kiilpe on Baldwin's ' Die Entwickehmg des Geistes beim Kinde und bei der Hasse'. Literaturbericht. Bd. xxii., Heft 4. B. Erdmann und R. Dodge. ' /ur Krla'uterung unserer tachistoskopischen Versuche.' [De- tailed reply to Wundt's criticism (Phil. Stud., xv., 287) of the authors' ' Untersuchungen iiber das Lesen auf experimenteller Grundlage.'l Be- spreohung. T. Ziehen : 'Kritischer Bericht iiber wichtigere Arbeiten auf dem Gebiete der Physiologic des Centralnervens stems der Wirbel- thiere '. Literaturbericht. PHILOSOPHISCHK STUDIES. Bd. xv., Heft 3. W. Wundt. -/in Kritik tachistoskopischer Versuche.' [There are six requirements of the tachistoscope. The stimulus must be so short that eye-movenn < ' precluded ; it must be so small that direct apprehension of the whole is possible; the illumination of the exposed surface must be uniform; favourable adaptation of the retina must be secured ; persistent after- images must be avoided ; the time of exposure must not be long enough for the attention to wander from part to part of the field. Dodge and Krdmann have paid almost exclusive regard to the first three of these.