Hindu dance: its image of man
Hippies: as products of “Progressive” education; their reversion to the music of the jungle
Hitchcock, Alfred
Horror Story, in “serious” and popular fiction
Hugo, Victor: choice of subject by; style of, as blend of reason and passionate emotion; reasons for liking work of; as master of integration of theme and plot structure ; historical essays interrupting stories of; universe of, contrasted with Schopenhauer’s; as top-rank Romantic novelist ; characterizations in novels of ; introduction by Ayn Rand to his Ninety-Three ; rediscovering novels of ; as greatest novelist in world literature; intellectual first-aid kit for reading and appreciation of ; and conflict in his sense of life; the thinker, as archetypical of the virtues and fatal errors of 19th century; novels of, as experience for the reader
Humor, in “tongue-in-cheek” thrillers
Hurst, Fannie, as popular-fiction writer
Identity, Law of: man’s need of definitions as resting on
Impressionists, their work contrasted with Vermeer’s
Industrial Revolution
Integration: as psycho-epistemological key to reason
Irrationalism: philosophy dominated by doctrine of ; sense of life achieved by apostles of
It Can’t Happen Here (Lewis), as novel of Naturalistic school with Romantic approach
Josephson, Matthew, as biographer of Victor Hugo
Karloff, Boris, movies of, as archetype of the Horror Story
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
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
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
Noveclass="underline" 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