by Ayn Rand
J
Josephson, Matthew, as biographer of Victor Hugo
K
Karloff, Boris, movies of, as archetype of the Horror Story
L
Lady of the Camellias, The (Dumas fils), and imitations of
Lang, Fritz: as director ; his film Siegfried as best of Romantic movies
Language: as means of retaining concepts; function of, in converting abstractions into concretes
Les Misérables (Hugo): theme of; plot-theme of; characterizations in
Levin, Ira, the supernatural in writing of
Lewis, Sinclair: and his characterization of Babbitt; choice of subject by; style of; as writer of Naturalistic school
Libretto, its function in operas and operettas
Liszt, Franz, his musical composition St. Francis Walking on the Waters
Literary style: fundamental elements of; and choice of words; and choice of content; comparison of, in excerpts from two novels; as most complex aspect of literature, and as most revealing psychologically ; not an end in itself ; see also Style of novel
Literature: by what means it re-creates reality; its integration of concepts to percepts; as ruler and term-setter in movies and television; Aristotelian principle of esthetics of ; novel as major literary form; and mind-body dichotomy that plagues it ; and basic premises of Romanticism and Naturalism regarding existence of man’s volition; and rules of Classicism; “serious” and popular, and the Horror Story ; eclectic shambles of today’s; nonexistence of today, as vital cultural movement; and presentation of man, prior to 19th century; modern, essential nature of man as represented in ; modern, return of, to art form of the chronicle ; as barometer of a culture ; selectivity of subject in, as cardinal aspect of; the ends and the means in, as worthy of each other; see also Fiction; Novel; Popular fiction; Thrillers
Logic: how its destruction made modern art possible
M
Magic Mountain, The (Mann), as bad novel
Maibaum, Richard, quoted on screenplays of Fleming’s novels
Man: as a being of self-made soul; and his need of philosophy; art as his psycho-epistemological conditioner; as an end in himself
Man Who Laughs, The (Hugo), characterization in
Manifesto, dictionary definition of
Mann, Thomas, and a bad novel
Marguerite and Armand (ballet)
Marty (Chayefsky), as work of modern Naturalism
Maurois, André, as biographer of Victor Hugo
Metaphysics: link between ethics and ; as science dealing with fundamental nature of reality ; and value-judgments; art as concretization of ; man’s need of ; of artist, and subject of his art work; of Naturalism ; music and dance as expressive of metaphysical view
Metaphysics in Marble (Sures), magazine article
Michelangelo, choice of subject by; his Pieta‘
Mind, man’s: current assaults on
Mitchell, Margaret, and plot structure in Gone With the Wind
Modern art: disintegration of man’s consciousness as goal of; its practitioners and admirers; as demonstration of cultural bankruptcy of our age; and composite picture of man; and presentation of emotions dominating modern man’s sense of life; and moral implications of trend toward lower levels of depravity in
Modern dance, characterized as neither modern nor dance
Modern philosophy, as source and sponsor of modern art
Moral sense of life: development of, in child; contribution of Romantic art to developing of ; and morality, differentiation between ; sins of adults toward child in developing of
Moral treason, and art
Morality: and moral sense of life, differentiation between ; and imposition of set of rules on the developing child; as a normative science ; mystical, social, subjective schools of
Motion pictures: role of literature and visual arts in ; work of Fritz Lang as director; reason for failure to develop as great art
Motivation, as a key-concept in psychology and in fiction
Movies, and Romanticism
Music: distinguished from other arts; pattern from musical perception to emotional response; psycho-epistemological nature of man’s response to ; role of sense of life in the response to ; hypothesis as to how and why it evokes emotions; mathematical nature of musical perception; metaphysical factors in enjoyment of; effects on mind of primitive and Oriental types; so-called “modern,” why it is not music; as related to the various performing arts
Mysticism: primitive epistemology of; and esthetics ; of Plato, resurgence of, in later part of 19th century, and effect of on Romanticism
Myths of religion
N
Naturalism: and anti-value orientation in work of art ; type of argument in evaluating work of art; and objection to plot of novel as artificial contrivance ; and denial of existence of man’s faculty of volition ; and assumption of mantle of reason and reality; disintegration of; Shakespeare as spiritual father of; journalistic approach of Naturalist writers; and substitution of statistics for standard of value ; and element of characterization ; final remnants of, with nothing to say about human existence ; Romanticism outlasted by; value in a Naturalist’s work and in a Romanticist’s; and imitator’s; and end of, with WW II; as man’s new enemy in art in later part of 19th century ; as dedicated to negation of art; and substitution of the collective for the objective; basic metaphysical premise of; doctrines of literary school of; and “compassionate” studies of depravity
Ninety-Three (Hugo): Introduction to, by Ayn Rand ; as uniquely “Hugo-esque,”; appraisal by two of Hugo’s biographers of; man’s loyalty to values as theme of; characterization in ; and integration of theme and plot; grandeur as leitmotif of
Notre-Dame de Paris (Hugo), characterization in
Novel: essential attributes of ; theme of ; plot of ; characterization of ; style of; as major literary form; shortcomings resulting in a bad novel; as recreation of reality; plot-theme of; and integration of major attributes of; top-rank Romantic novelists; second-rank Romantic novelists ; relation of thrillers to novels of serious Romantic literature; Victor Hugo as greatest novelist in world literature; and start and culmination of illustrious line of Romantic novelists in 19th century; and the Naturalist; see also Fiction; Popular fiction; Thrillers
O
Objectivism: passim
Objectivist, The, magazine
O’Hara, John: style of; as best of Naturalism’s contemporary survivors
Olympio ou la Vie de Victor Hugo (Maurois), appraisal of Ninety-Three in
One Lonely Night (Spillane), style of
O’Neill, Eugene, as imitator of Dumas fils, in Anna Christie
On the Sensations of Tone as a Physiological Basis for the Theory of Music (Helmholtz)
Opera, function of music and libretto in
Oriental music Painting: distinguished from other arts; role of sensory and conceptual factors in; color harmony in
P
Pantomine: dance distinguished from; classified as non-art
Performing artist: his task ; basic principles applicable to
Performing arts: relation to primary arts psycho-epistemological role of; application of basic artistic principles to inversion of ends and means in
Philosophy: as determinant of trends of world; of life, and full conceptual control; and setting of criteria of emotional integrations ; man’s need of; of man, as chosen by his mind or by chance; love as expression of; of artist, truth or falsehood of; and art, relationship between ; its practical importance ; the consequences of default in; Aristotle’s esthetics of literature ; modern, as swamp breeding ground of aborted art; dominated by doctrines of irrationalism and determinism ; since Renaissance, retrogression of, to mysticism of Plato; Romantic movement in, as unrelated to Romanticism in esthetics; new schools of, as progressively dedicated to negation of; antirational, and emotions dominating modern man’s sense of life
Photography: as not an art
Pieta‘ (Mich
elangelo)
Plot of novel: as essential attribute ; definition of; as dramatization of goal-directed action ; Naturalists’ objection to, as artificial contrivance ; and presentation of conflict of values; serving same function as steel skeleton of skyscraper; and events, as expressing meaning of novel; as not represented by physical action divorced from ideas and values; and premise of man’s possession of faculty of volition; plotlessness, and premise of man’s lack of volition; and antagonism of today’s esthetic spokesmen toward Romantic premise in; and top-rank Romantic novelists; and second rank of Romantic novelists ; and popular fiction; and imitators of Romanticists
Plot-theme of novel ; as core of its events ; and top-rank Romantic novelists
Poe, Edgar Allan, as modern ancestor of the Horror Story
Poem, basic attributes of
Popular fiction: common-sense ideas and values as base of; and absence of explicitly ideational element ; categories of ; contemporary examples of best writers of; characteristics of writing below top level of; “slick-magazine” type of ; and the Horror Story
Possessed, The (Dostoevsky), characterization in
Primitive music
“Progressive” education, hippies as products of
Psycho-epistemology: definition of; in art as illustrated by characterization in literature; and concretization of cognitive abstractions ; and concretization of normative abstractions; and metaphysical views of artist ; and process of communication between artist and viewer or reader; of artist, and style of his art work; role of in man’s musical responses ; art as the conditioner of; consonant with reality and man’s nature
Q
Quo Vadis (Sienkiewicz): as top-rank Romantic novel ; characterizations in
R
Rand, Ayn: hypothesis on nature of man’s response to music; favorite form of dance; goal of writing of; projection of an ideal man as motive and purpose ; portrayal of a moral ideal as end in itself ; what is not the purpose of; and irrelevancy of questions about primacy of the novelist or the philosopher in her writing ; and basic test for any story; defining and presenting conditions making possible an ideal man; presentation of Man as an end in himself ; Naturalism, as literary school diametrically opposed to; selectivity in regard to subject ; as Romantic Realist ; manifesto of, as stated by Howard Roark in The Fountainhead, quoted; and esthetic principle of Aristotle; and present state of our culture
Reality: man’s acquiring and retaining his knowledge of ; man’s applying his knowledge of; art as selective re-creation of, according to artist’s metaphysical value-judgments ; metaphysics as science dealing with fundamental nature of; and an art work’s support or negation of one’s fundamental view of; religion as attempt to offer comprehensive view of; and artist’s metaphysical evaluation of facts; stylizing of, by artist ; novel as re-creation of; Romanticism’s break with; psycho-epistemology consonant with facts of
Reason: its relation to man’s survival; modern philosophers’ war against
Religion: beginning of art as adjunct to; mythology of, as concretization of its moral code; as primitive form of philosophy ; myths of; and Romanticists
Robinson, Bill
Rolland, Romain, as romanticizing Naturalist writer
Romanticism: and value orientation in work of art; and recognition of man’s faculty of volition ; practically non-existent in today’s literature ; antagonism of today’s esthetic spokesmen toward Romantic premise in art; destruction of, in esthetics; of 19th century, and influences of Aristotelianism and capitalism; as rebellion against Classicism; primacy of values brought to art by; and irony of definition declaring it as based on primacy of emotions ; and break with reality; philosophers as contributors to confusion surrounding term; definition of, as volition-oriented school ; and top-rank Romantic novelists and playwrights ; and second rank of Romantic writers; and writers with mixed premise of volition; philosophically as crusade to glorify man’s existence ; psychologically experienced as desire to make life interesting; virtues and potential flaws of, as seen in popular literature ; and movies and television ; and attempt to eliminate from Romantic fiction; altruist morality as archenemy and destroyer of; final remnants of; outlasted by Naturalism; value in a Romanticist’s work and in a Naturalist’s ; and end of great era of, with WW I; remnants of, in popular media; and escape into the supernatural ; and coming of age, with rebirth of reason and philosophy; as great new movement in art in 19th century; treated as bootleg merchandise ; and development of moral sense of life
Rosemary’s Baby (Levin), use of the supernatural in
Rostand, Edmond, as top-rank Romantic playwright
Royal Ballet, performance of Marguerite and Armand
Ruy Blas (Hugo)
S
Satire, legitimate, contrasted with “tongue-in-cheek” thrillers
Scarlet Letter, The (Hawthorne), as top-rank Romantic novel
Schelling, Friedrich
Schiller, Friedrich, as top-rank Romantic playwright
Schopenhauer, Arthur
Scott, Walter, as Romantic novelist
Sculpture: of Ancient Greece and of Middle Ages, difference in presentation of man in; nature of, and relation to other arts
Selectivity, as a basic principle of the arts
Sense of life: definition of ; and integrating mechanism of the subconscious; and rational philosophy; dominated by fear ; formed by process of emotional generalization ; and early value-integrations; as integrated sum of a man’s basic values; and adolescence ; matching conscious convictions, in fully integrated personality ; transition from guidance by, to guidance by conscious philosophy; and conflict between conscious convictions; changing and correcting of ; profoundly personal quality of; relation of, to personality; as sense of one’s own identity ; as integration of mind and values; love and art, as special province and expression of; of artist, and control and integration of his work ; of viewer or reader, and response to work of art; projecting of, in subject and style of work of art; and intellectual approach, difference between, in response to work of art; and evaluation of work of specific writers; role of in music; role of in dance; Aristotelian h century guided by; of Romanticists, and cultural atmosphere of 19th century; of modern man, emotions dominating; see also Moral sense of life
Serling, Rod, as Naturalist writer, and as Romanticist
Shakespeare, William: choice of subject by; as spiritual father of Naturalism
Siegfried (Fritz Lang), as best of Romantic movies
Sienkiewicz, Henryk: as writer of top-rank Romantic novel; and characterizations in Quo Vadis
“Slick-magazine” type of Romanticists
Soul: man as a being of self-made soul; art as the technology of
Spillane, Mickey: reasons for liking work of; style of, in One Lonely Night ; as top-rank writer of popular fiction; thrillers of
St. Francis Walking on the Waters (Liszt), a musical composition
Stage director: nature and demands of his role
Style of art work: as expression of view of man’s consciousness ; as product of artist’s psycho-epistemology ; response of man to; as most complex element of art ; and so-called “painterly” school; Cubism ; importance of, to artist and to reader or viewer; and psycho-epistemological sense of life
Style of novel: as a major attribute ; as means by which other attributes are presented; comparison of, in excerpts from two novels; see also Literary style
Stylization, see Selectivity
Subject of art work: as expression of view of man’s existence ; artist’s choice of ; and projection of view of man’s place in universe ; selectivity in, as cardinal aspect of art
Sullivan, Louis H., principle of architecture of
Symbolism of primitive terror in presentation of man
T
Tap dancing
Television: physical action in dramas of; and Romanticism ; The Twilight Zone, series on; The Avengers, British series on
Theater: legitimate vs. illegitimate inno
vations in
Theme of art work, as link uniting subject and style
Theme of novel: as essential attribute; purpose of novel defined by; presented in terms of action; as core of its abstract meaning; and top-rank Romantic novelists ; and second rank of Romantic novelists; and popular fiction; in modern literature
Thrillers: “tongue-in-cheek,” ; as detective, spy, or adventure stories ; conflict as basic characteristic of; as simplified version of Romantic literature; relation of, to novels of serious Romantic literature ; humor in “tongue-in-cheek” thrillers ; social status of, and gulf between the people and their alleged intellectual leaders; modern intellectuals’ rush to the bandwagon of; as dramatization of abstraction of moral conflict; as spectacle of man’s efficacy ; and ultimate triumph of the good
Tolstoy, Leo: choice of subject by; evaluating work of; as Naturalist writer
Twilight Zone, The, series on TV, as symbolic projection of remnants of Romanticism
V
Value-judgments, metaphysical: as foundation of moral values; of artist, and selective re-creation of reality ; as base of ethics ; derived from an explicit metaphysics
Values: conflicts of; art as concretization of; primacy of, brought to art by Romanticists; common-sense values distinguished from conventional; moral, child’s learning concept of
Venus de Milo
Vermeer, Jan: choice of subject by; style of
Verne, Jules, as writer of science fiction
Victor Hugo (Josephson), appraisal of Ninety-Three in
“Violence Can be Fun,” article in TV Guide on The Avengers, quoted
Volition: man’s possession of, as premise of Romanticism ; man as not possessed of, as premise of Naturalism ; and importance of establishing as function of man’s rational faculty; confusion on, between esthetic Romanticists and “Romantic” philosophers; full commitment to premise of, by Romantic writers; commitment to premise of, by writers in regard to existence but not to consciousness ; commitment to premise of, by writers in regard to consciousness but not to existence
W
War and Peace (Tolstoy)
Web and the Rock, The (Wolfe), style of
