Aesthetics:: An Introduction by Ruth L. Saw (auth.)

By Ruth L. Saw (auth.)

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What they have been given is an apparent demonstration that the conjurer could not wield the saw without sawing the woman in half. There has been a total lack of illusion. There is more of an illusion in a stage performance, because we are led imperceptibly into the time and place where the playwright wishes to have us. We give ourselves up willingly to the illusion-it is not exactly as Coleridge says that we suspend disbelief; it is rather that we give up the belief-disbelief attitude altogether.

21--22. S8 AES'I1IETICS: AN INTRODUGriON total experience that he just will not accept the sudden shock that perhaps acts as a catalytic agent. One can speak only as one finds, and I commit myself to the side of the aesthetic thrill. I have experienced it very rarely in my life, but once is enough. The odd part is that it seems to me attainable in music, which is not "my" art. For Bell it seems to have occurred chiefly in painting, and it may be that Richards, who is obviously moved more by poetry than by any other art, misses it for that reason.

In his Aspects of the Novel3 E. M. Forster defines the novel, quoting M. " Mr. Forster specifies the extent. " I am not concerned with this definition of the novel, but with what Mr. Forster is obviously wishing to contrast with the novel. " He goes on to point out specific excellences of his examples, but he assumes before he begins that they are all works of art in the preliminary sense, that is, that they are worthy of serious critical s Aspects of the Novel, London, 1927. P. 15. What Is a Work of Art?

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