Word: mille
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...language and to his wider concerns, he excels at the traditional critic's touchstone of talent, the actual reading of a text. Marcus's ability to illuminate unseen aspects of familiar texts and to enrich their meaning is quite remarkable. In his book on Engels (1974), by contrasting Mill's and Dickens's responses to London to those of Engels, Marcus brings out at exactly what point in The Condition of the English Working Classes in 1844 Engels understands the industrial revolution in a systematic way inaccessible to his British contemporaries...
...interest group will demand its accustomed larger share of a non-expanding pie, causing disillusion, further inflation and possible class conflict (which translates into "chaos" for most of the Public Interest theorists). In an economy which can no longer afford to sate hedonism, the individualistic legacy of John Stuart Mill must be traded in for the approach of the principled conservatives, Burke and Tocqueville. Enlightened economic self-interest is no longer a sufficient rationale for the continuation of capitalism: the masses must now be provided with a new "liberal" philosophy justifying restraint in the national interest, lest a more extreme...
...Parris, Ian Fleming-Williams and Conal Shields. It celebrates Constable's 200th birthday and is the largest showing of his work ever. For the first time, one can see the whole man under one roof-from the juvenilia (a graffito he scratched on a beam in the family mill when he was 16) and memorabilia, to the grand series of 6-ft. landscapes he painted in the 1820s and '30s. These include The Hay Wain, The Leaping Horse, Salisbury Cathedral, from the Meadows, Hadleigh Castle. In them Constable did to the perception of landscape in paint what Wordsworth...
There are painters who carry their childhood experience all their lives. It forms the genetic code, the inescapable structure, of their work. Constable was one. He was born in Suffolk, where his father owned water mills on the River Stour. He lived a life of blameless bourgeois obscurity, alternating between London and the Suffolk countryside with his wife Maria Bicknell, who bore him seven children. At 45, he wrote to a friend: "The sound of water escaping from Mill dams ... willows, Old rotten Banks, slimy posts, & brickwork. I love such things ... I should paint my own places best-Painting...
Hence his sheaves of cloud studies, done from observations on Hampstead Heath. He did not use the broken col ors and blue shadows which, after a century of impressionism, we still imagine as necessary for telling a truth about light. A work like Dedham Lock and Mill, c. 1819, is straight tonal painting...