Studies in Criticism and AestHoward Anderson U of Minnesota Press - 419 стор. |
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Сторінка 8
... suggests , the classical precept that art imitates nature proved as adaptable as it was venerable , providing authority for unfamiliar realms of nature ( notably the sublime ) as proper subjects for art . Even in the earliest decades of ...
... suggests , the classical precept that art imitates nature proved as adaptable as it was venerable , providing authority for unfamiliar realms of nature ( notably the sublime ) as proper subjects for art . Even in the earliest decades of ...
Сторінка 9
... suggesting timeless action . Par- ticularity of characterization he achieved by concentrating on the precise likeness and expression . Reynolds is shown in Robert Moore's essay to be the type of the classical artist : equally concerned ...
... suggesting timeless action . Par- ticularity of characterization he achieved by concentrating on the precise likeness and expression . Reynolds is shown in Robert Moore's essay to be the type of the classical artist : equally concerned ...
Сторінка 10
... suggests , Johnson achieved the fullest expression of sublimity in the eighteenth century . - Even so negligible a critic as William Warburton cannot be character- ized as merely dogmatic and hidebound ; as Robert Ryley shows , he an ...
... suggests , Johnson achieved the fullest expression of sublimity in the eighteenth century . - Even so negligible a critic as William Warburton cannot be character- ized as merely dogmatic and hidebound ; as Robert Ryley shows , he an ...
Сторінка 21
... suggest that he intended his compositions to be understood so literally . But it will not do to ignore the fact , or to laugh off the theory behind it as the midsummer madness of an era now happily outgrown . The problems of imitation ...
... suggest that he intended his compositions to be understood so literally . But it will not do to ignore the fact , or to laugh off the theory behind it as the midsummer madness of an era now happily outgrown . The problems of imitation ...
Сторінка 34
... suggest that the looks of the road and the speed of the passage were highly subjective matters , largely depen- dent upon — or at least radically affected by — the purpose and preoc- cupations of the passenger . I have wished in this ...
... suggest that the looks of the road and the speed of the passage were highly subjective matters , largely depen- dent upon — or at least radically affected by — the purpose and preoc- cupations of the passenger . I have wished in this ...
Зміст
3 | |
13 | |
36 | |
Chaucer in Drydens Fables | 58 |
Shaftesbury and the Age of Sensibility | 73 |
Addison on Ornament and Poetic Style | 94 |
Relativism and An Essay on Criticism | 128 |
Popes Definition of His Art | 140 |
Humes Of Criticism | 232 |
William Warburton as New Critic | 249 |
The Naked Science of Language 17471786 | 266 |
Imlac and the Business of a Poet | 296 |
The Comic Syntax of Tristram Shandy | 315 |
Reynolds and the Art of Characterization | 332 |
Gainsboroughs Prospect Animated Prospect | 358 |
A Revolution in Dispute | 380 |
Art and Reality in Pope and Gray | 156 |
Thomsons Poetry of Space and Time | 176 |
The Reach of Art in Augustan Poetic Theory | 193 |
Philosophical Language and the Theory of Beauty in the Eighteenth Century | 213 |
A List of Books Articles and Reviews Published | 401 |
Index | 403 |
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Загальні терміни та фрази
Addison admire aesthetic aestheticians Alexander Pope ancient appears artist Augustan Baroque beauty character Chaucer classical colors conception criticism Discourse doctrine Dryden Dunciad effect eighteenth century emotions English Epistle Erminia Essay Essay on Criticism example expression fiction Gainsborough genius Georgics Guercino Horace human Hume Ibid ideal ideas imagination imitation John Dryden Johnson judgment kind landscape language lines literary literature London Longinus Lyrical Ballads M. H. Abrams means metaphor Milton mind modern moral nature neoclassical Neoclassicism objects observed ornament Ovid painter painting passage passions pastoral philosophical picture pleasure poem poet poetic poetry Pope Pope's portrait praise Preface principle reader reason remarks Reynolds Reynolds's rhetoric Romantic satire says seems sense Shaftesbury shepherd simplicity Spectator style sublime suggest taste theory things Thomas Gainsborough thought tion tradition Tristram Shandy true truth ture Twickenham universal Warburton words Wordsworth writing
Популярні уривки
Сторінка 312 - The remotest discoveries of the chemist, the botanist, or mineralogist, will be as proper objects of the poet's art as any upon which it can be employed, if the time should ever come when these things shall be familiar to us, and the relations under which they are contemplated by the followers of these respective sciences shall be manifestly and palpably material to us as enjoying and suffering beings.
Сторінка 312 - If the labours of Men of science should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the Poet will sleep then no more than at present; he will be ready to follow the steps of the Man of science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of the science itself.
Сторінка 203 - All the images of Nature were still present to him, and he drew them, not laboriously, but luckily; when he describes anything, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read Nature; he looked inwards, and found her there.
Сторінка 151 - A cherub's face, a reptile all the rest; Beauty that shocks you, Parts that none will trust, Wit that can creep, and Pride that licks the dust. Not Fortune's worshipper, nor Fashion's fool, Not Lucre's madman, nor Ambition's tool...
Сторінка 316 - I WISH either my father or my mother, or indeed both of them, as they were in duty both equally bound to it, had minded what they were about when they begot me...
Сторінка 198 - There are, indeed, but very few who know how to be idle and innocent, or have a relish of any pleasures that are not criminal; every diversion they take is at the expense of some one virtue or another, and their very first step out of business is into vice or folly.
Сторінка 296 - All the appearances of nature I was therefore careful to study, and every country which I have surveyed has contributed something to my poetical powers.