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 36
Pagina 83
... precisely the same sense . A great artist can create an implied author who is either detached or involved , depending on the needs of the work in hand . We see , then , that none of the three major claims to objectivity in the author ...
... precisely the same sense . A great artist can create an implied author who is either detached or involved , depending on the needs of the work in hand . We see , then , that none of the three major claims to objectivity in the author ...
Pagina 141
... precisely this centrality , this lack of bias , this ca- pacity to cut to the heart of problems which all philosophies at- tempt to deal with in conceptual terms , that makes his plays what we call universal . Great art can bring men of ...
... precisely this centrality , this lack of bias , this ca- pacity to cut to the heart of problems which all philosophies at- tempt to deal with in conceptual terms , that makes his plays what we call universal . Great art can bring men of ...
Pagina 257
... precisely to what degree Emma is to be trusted . Whenever we leave the " real evils " we have been warned against in Emma , the narrator's and Emma's views coincide : we cannot tell which of them , for example , offers the judgment on ...
... precisely to what degree Emma is to be trusted . Whenever we leave the " real evils " we have been warned against in Emma , the narrator's and Emma's views coincide : we cannot tell which of them , for example , offers the judgment on ...
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