Recueil général des opéras représentés par l'Academie royale de musique depuis son établissement, Volume 1Slatkine Reprints, 1965 |
Dall'interno del libro
Risultati 1-3 di 77
Pagina 134
direct experience of the plays teaches us not to do . We experience a miraculous unity of what might have remained dissociated but for Shakespeare's ability to involve our minds , hearts , and sensibili- ties simultaneously . Another ...
direct experience of the plays teaches us not to do . We experience a miraculous unity of what might have remained dissociated but for Shakespeare's ability to involve our minds , hearts , and sensibili- ties simultaneously . Another ...
Pagina 139
... experience enjoys it ? We must be very clear that we are talking now about literary experience , not about the pleasures of finding one's prejudices echoed . The question is whether the enjoy- ment of literature as literature , and not ...
... experience enjoys it ? We must be very clear that we are talking now about literary experience , not about the pleasures of finding one's prejudices echoed . The question is whether the enjoy- ment of literature as literature , and not ...
Pagina 182
... experience . In Intruder , as in many such works , the attitude toward which Faulkner wants his young hero to grow is so complex that neither the boy nor the reader is likely to infer it from the experience itself . They both must ...
... experience . In Intruder , as in many such works , the attitude toward which Faulkner wants his young hero to grow is so complex that neither the boy nor the reader is likely to infer it from the experience itself . They both must ...
Sommario
True Novels Must Be Realistic | 23 |
All Authors Should Be Objective | 67 |
True Art Ignores the Audience | 89 |
Copyright | |
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Parole e frasi comuni
aesthetic ambiguity artistic Aspern Papers beliefs chap chapter character comedy comic commentary complete consciousness conventional critics dramatic E. M. Forster effect Emma Emma's emotional Essays example experience F. O. Matthiessen fact Faulkner faults Federigo feel Flaubert George Eliot heighten Henry James hero human impersonal implied author important inside views intellectual intensity interest intrusions irony James Joyce James's Jane Austen Joseph Conrad Joyce Joyce's judgment Kenyon Review kind Knightley literary literature London look means ment mind modern fiction moral narrative narrator's natural never norms novel novelist object omniscient person plot PMLA poetry point of view Portrait precisely problem question R. P. Blackmur reader realism reality reflector reliable narrator rhetoric satire scene seems sense simply Stephen story sympathy technique tell thing tion Tom Jones trans Tristram Shandy true truth unreliable unreliable narrators values write York