The Social History of Art: Naturalism, Impressionism, The Film ageV.1. Prehistoric times, Ancient-Oriental urban cultures, Greece and Rome, The M iddle Ages. v.2. Renaissance, Mannerism, Baroque. v.3. Rococo, Classicism, Roma nticism. v.4. Naturalism, Impressionism, The Film Age. |
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Page 94
... problems are in the foreground , in all genres the critical intellect is predominant . In the novel this spirit of criticism is represented by Flaubert , Zola and the Goncourt brothers , in lyric poetry by Baudelaire and the Parnassians ...
... problems are in the foreground , in all genres the critical intellect is predominant . In the novel this spirit of criticism is represented by Flaubert , Zola and the Goncourt brothers , in lyric poetry by Baudelaire and the Parnassians ...
Page 130
... problems are not solved , but their sharp edge is removed . The catastrophe of 1848 produces a fa- tigue and passivity in the progressive strata of society and the novel thereby loses its intolerant and aggressive char- acter ...
... problems are not solved , but their sharp edge is removed . The catastrophe of 1848 produces a fa- tigue and passivity in the progressive strata of society and the novel thereby loses its intolerant and aggressive char- acter ...
Page 142
... problem of individual liberty as Dostoevsky or Tolstoy . The entire philosophical speculation of the Russians hinges ... problems not only occupy much more space and a more central position , they maintain their predominance for a longer ...
... problem of individual liberty as Dostoevsky or Tolstoy . The entire philosophical speculation of the Russians hinges ... problems not only occupy much more space and a more central position , they maintain their predominance for a longer ...
Contents
THE GENERATION OF 1830 | 3 |
THE SECOND EMPIRE | 60 |
THE SOCIAL NOVEL IN ENGLAND AND RUSSIA | 106 |
Copyright | |
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absolute aesthetic aestheticism already ANDRÉ BRETON aristocratic artistic attitude Balzac Baudelaire becomes begins bohème bour bourgeois society bourgeoisie character classical colour conception conflict consciousness criticism culture D. S. MIRSKY described Dickens Dostoevsky drama economic elements Eugène Sue everything existence experience expression fact feeling fight film Flaubert France French genre George George Eliot heroes human Ibid Ibsen idea ideal impressionism impressionistic individual intellectual intelligentsia July monarchy l'art pour l'art liberalism literary literature Madame Bovary Mallarmé material means ment merely method middle class modern moral movement naturalism naturalistic never novel outlook painting Paris period philosophy play poetry political principle problem production Proust psychological purely rationalism readers realism reality relationship represents Revolution romantic romanticism Russian Second Empire sense Slavophils social socialistic spiritual spite stage Stendhal story struggle style symbol taste theatre THOMAS MANN tion Tolstoy Victorian whole words writers Zola