Studies in Criticism and AestHoward Anderson U of Minnesota Press - 419 Seiten |
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Seite 7
... moral ones first : perhaps , above all , his commitment to knowledge , his sense of responsibility to his profession . Indeed , his teaching and writing are what they are because he has always exercised that commitment and that ...
... moral ones first : perhaps , above all , his commitment to knowledge , his sense of responsibility to his profession . Indeed , his teaching and writing are what they are because he has always exercised that commitment and that ...
Seite 11
... moral and aesthetic distinctions are made on the same basis . As Ernest Tuveson makes clear , Shaftesbury did not argue that the mere possession of sensibility assured the benevolence of human responses ; he urged that this faculty be ...
... moral and aesthetic distinctions are made on the same basis . As Ernest Tuveson makes clear , Shaftesbury did not argue that the mere possession of sensibility assured the benevolence of human responses ; he urged that this faculty be ...
Seite 13
... moral , idealistic , or civil : concerned , that is , with useful instruction , or regulative norms , or polity . Art was always to serve some ulterior , public purpose . The artist was of little account or interest in himself but the ...
... moral , idealistic , or civil : concerned , that is , with useful instruction , or regulative norms , or polity . Art was always to serve some ulterior , public purpose . The artist was of little account or interest in himself but the ...
Seite 17
... moral and rationally ideal bases of art , teach virtue , and provide inexhaustible illustration of aesthetic beauty and truth . . . So much may suffice by way of summary . ช Whatever date may be chosen to mark the beginning of the new ...
... moral and rationally ideal bases of art , teach virtue , and provide inexhaustible illustration of aesthetic beauty and truth . . . So much may suffice by way of summary . ช Whatever date may be chosen to mark the beginning of the new ...
Seite 23
... moral tag su- perimposed from without . This important insight I owe again to Winton Dean . " With Handel , " Dean declares , " as with the Greeks , the force of such pronouncements varies in proportion with their dramatic motiva- tion ...
... moral tag su- perimposed from without . This important insight I owe again to Winton Dean . " With Handel , " Dean declares , " as with the Greeks , the force of such pronouncements varies in proportion with their dramatic motiva- tion ...
Inhalt
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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Häufige Begriffe und Wortgruppen
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
Beliebte Passagen
Seite 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.
Seite 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.
Seite 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.
Seite 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...
Seite 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...
Seite 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.
Seite 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.