The Critical Principles of Orestes A. Brownson, by Virgil G. Michel ...Catholic University of America, 1918 - 106 strani |
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Stran 35
... from it will 1 By imagination Brownson sometimes seems to mean the emotional faculty in man , at times rightly called sensibility by him . also be vitiated . In order to obtain a proper THE CRITICAL PRINCIPLES OF ORESTES A. BROWNSON 35.
... from it will 1 By imagination Brownson sometimes seems to mean the emotional faculty in man , at times rightly called sensibility by him . also be vitiated . In order to obtain a proper THE CRITICAL PRINCIPLES OF ORESTES A. BROWNSON 35.
Stran 44
... called ontological proof for the ex- istence of God , to Brownson's theory , namely , that it jumps the chasm between the ideal and the real - in other words , that the formula , Being creates existences , is after all only in our mind ...
... called ontological proof for the ex- istence of God , to Brownson's theory , namely , that it jumps the chasm between the ideal and the real - in other words , that the formula , Being creates existences , is after all only in our mind ...
Stran 50
... called to account for what he has chosen to externalize , though not from the standpoint of pure art . The latter concerns itself only with the intuition as such , and for that , as was said above , the artist is not respon- sible . To ...
... called to account for what he has chosen to externalize , though not from the standpoint of pure art . The latter concerns itself only with the intuition as such , and for that , as was said above , the artist is not respon- sible . To ...
Stran 57
... . 133. Freiburg im Breisgan 1886 . 34 Op . cit . , ii , 56 . 35 Essays and Lectures on Shakespeare , p . 178 . Everyman's Library . son asserts , that the so - called realists who THE CRITICAL PRINCIPLES OF ORESTES A. BROWNSON 57.
... . 133. Freiburg im Breisgan 1886 . 34 Op . cit . , ii , 56 . 35 Essays and Lectures on Shakespeare , p . 178 . Everyman's Library . son asserts , that the so - called realists who THE CRITICAL PRINCIPLES OF ORESTES A. BROWNSON 57.
Stran 58
Virgil George Michel. son asserts , that the so - called realists who portray only the coarse side of life may inculcate the doctrine that this is the only aspect of life , that there is nothing higher . But even this does not destroy ...
Virgil George Michel. son asserts , that the so - called realists who portray only the coarse side of life may inculcate the doctrine that this is the only aspect of life , that there is nothing higher . But even this does not destroy ...
Pogosti izrazi in povedi
aesthetic principles agree with Brownson appeal art xix artistic activity artistic genius artistic intuition beautiful xix beholders Biographia Literaria Boston Brother Azarias Catholic World common concept considered critic Croce Douglas Ainslie Dublin Review eral Essays essence of art ethics Everyman's Library exists exterior form external form fact faculty false form of art Francis Thompson give Goethe Hence higher human interest human nature human race Ibid idea ideal identical Imagist imitation individual influence inspiration instinctive intellect internal expression judge latter literary artist Lyrical Ballads mankind means mental vision merely mind moral necessary notion object ontological ordinary Orestes persons philosophy Plato poet poetry positive presence of artistic Princeton Review production proper prose question reader reason relation religious novel Review says sense sensibility sentiments social society soul spirit spiritual worthiness supernatural taste theory thought tion true art truth tuition universal viewpoint words writer York
Priljubljeni odlomki
Stran 93 - Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.
Stran 68 - Do more bewitch me, than when art Is too precise in every part.
Stran 79 - ... that architectural conception of work, which foresees the end in the beginning and never loses sight of it, and in every part is conscious of all the rest, till the last sentence does but, with undiminished vigour, unfold and justify the first...
Stran 62 - Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings, and also experience them.
Stran 93 - Poet to possess, there cannot be a doubt that the language which it will suggest to him, must often, in liveliness and truth, fall short of that which is uttered by men in real life, under the actual pressure of those passions, certain shadows of which the Poet thus produces, or feels to be produced, in himself.
Stran 51 - ... whatever is worth doing at all is worth doing well.
Stran 67 - One man opposing another determines nothing ; but a general union of minds, like a general combination of the forces of all mankind, makes a strength that is irresistible.
Stran 80 - Thought and speech are inseparable from each other. Matter and expression are parts of one; style is a thinking out into language. This is what I have been laying down, and this is literature: not things, not the verbal symbols of things; not on the other hand mere words, but thoughts expressed in language. Call to mind...
Stran 80 - grand style," and essays on style continue to be written, like the old "arts of poetry" of two centuries ago. But the theory of styles has no longer a real place in modern thought; we have learned that it is no less impossible to study style as separate from the work of art than to study the comic as separate from the work of the comic artist.
Stran 83 - ... for the creation of a master-work of literature two powers must concur, the power of the man and the power of the moment...